Houses without doors:
The book is considered a message addressed to society to beware of intruding into social relationships and giving too much confidence to reveal the secrets and problems of family and marital life, which allows the sick of souls and demons of humanity to spread their poisons to tear apart safe homes.
Trying to finally reconcile with a past that has been haunting her throughout her life, Coco tells the story of her family across several generations, starting with the ancestor, Albert Louis, an ambitious man who left his land trying to recreate himself as a man with wealth, passing through his children and grandchildren, and ending with her herself: Coco,” the narrator feels she must tell this tale, and it will be the monument she builds to the dead. It is the debt that must be repaid. A story devoid of great executioners and venerable martyrs, but it will nonetheless have the weight of flesh and blood, because it is the story of its people, of their dreams and hopes, of their delusions, of their failures, and of their complex legacy from which the entire race suffers.
“The Sinful Life” is a novel overflowing with interwoven stories and full of details that provide important testimony about the lives of middle-class families in the Caribbean. It was written by Maryse Conde, the Guadeloupe novelist who won the Alternative Nobel Prize in 2018, with infinite sweetness and warmth, based largely on the history of... Her own family. She wrote it as a monument to build for the dead, thus paying off her debt as well.
كتاب أربعون للكاتب السعودي أحمد الشقيري ألّفه في أثناء خلوته لمدة أربعين يوماً في جزيرة نائية بعيداً عن الناس، وعن شواغل التكنولوجيا وملهيات الحياة. صدر عام 2018م عن دار الشروق في 267 صفحة. ويتحدث أحمد الشقيري عن خواطر وتجارب حدثت له في حياته وما الذي استفاد منها.
It is said: “Writing theater is, in a way, knowing how to tell our story.” But the past ten years have undermined the axioms. Instead of asking how, we began to ask: Why do we talk, and about what? Thus, these four texts come today to answer these questions in their own way, and carry the concerns of their writers “here and now.”
A text depicting the city as he sees it: two elderly people guarding public toilets on a street in Damascus; Where stories seep out from under dirty bathroom doors, another about a young man who spends most of his time in the kitchen, unable to work and interact with others, and instead tries in vain to stop the water dripping from the tap so as not to drown him, and a third text about a faltering relationship between a Syrian young man residing inside... A Syrian woman residing in Germany. As the two try to maintain the connection that unites them in the face of the difficult circumstances of their lives, a final text sheds light on the mentality that prevails among Syrian artists in “Despora,” and affects their work mechanisms and their relationship with cultural institutions, by shedding light on the rehearsals of a theater group preparing for the play “The Return of Danton.” With projections on the Syrian situation.
Taken together, the texts of this workshop form an image that resembles its spaces with the questions of these spaces, or with the absence of questions, with the blurring or dominance of memory, with confusion, with boldness, with violence, and with death. Stage masters.
