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From Ottoman Syria to Argentina | SyriaUntold
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Little Syrias in a big world | SyriaUntold
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Questioning exile | SyriaUntold | حكاية ما انحكت
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Read this essay in Arabic here. This piece is part of a limited series on shifting narratives in Syrian literature, guest edited by novelist Rosa Yassin Hassan.
In 2015, the Nobel Prize for Literature was awarded to the Belarusian writer Svetlana Alexievich, whose work mixes narration, journalistic techniques and direct observation, recording testimonies and documentation.
Alexievich was among the main voices representing an international narrative experience which cemented that literary genre: the documentary novel. This genre influenced many narrative experiences across the world, including the Syrian novel, which, like other forms of art, acquired new artistic features in the wake of the huge political and social events of 2011.
Jacques Derrida described the act of embrace as a space in which the self touches the other. Did I really lose my body or did I re-appropriate it by alienating.
I stare around me at the tired faces concealing maps of Syrian cities in their lines. I drown in sorrow, fearing deportation. Ours is a world of paper in which trees have turned into packages containing the sorted names of people wanted by the intelligence branches. The whiteness of the papers turns into blood stains dripping onto the roots. They are cut and transformed into secret files grasped by informants, intelligence officers and the secret police in their pursuit of spoils.