Seven years after its issuance, the novel (The Syrians Enemy) by the Syrian novelist Fawaz Haddad is still softening the top of the literary works that tried to dissect the era of the father of the father and then the son from a historical critical perspective, analyzing the structure and founding of this era and not only monitoring its paths and standing on its most prominent transformations only..She still challenges everyone who wrote about this era, not with its artistic advantages, nor its objective approaches in terms of dealing with events and drawing personalities only, as these differentials remain phased, and the writer's literature itself may include, but the most prominent challenge is the courage of discourse.And if "not all that is known is said," Fawaz Haddad does not distinguish between what is known and what is said..He says everything that he knows and everything that everyone knows is that it is the living and similar truth that Syrians cannot ignore, he is not afraid of accusation of sectarianism, extremism, or alignment, but he fears that he will come from a century or a century: What is the writers of that stage that they lived and its contemporary,They did not have the honor to say and testify to the reality they experienced?.
personal pronoun..That is the issue
In the last pages of his narration, the security man who worked in the Republican Palace for decades is surprised by the position of the Alawite opposition (Aref) who announced after the outbreak of the revolution against Bashar al -Assad's rule, that he will stand with the regime, asking him: "Will your position against you as an intellectual?""on the contrary..Culture provides you with justifications and excuses for any position you take. "What Fawaz Haddad does over about five hundred pages is the size of this long epic novel, that he will throw all these justifications and excuses that culture gives him, in order to be honest in what he writes, sharp, hurtful, painful, tight, desperate, hopeless and"Summary ".. لكنه أبداً لن ينساق لأن يكون مبرِّراً أو مداهِناً، ومنذ الإهداء الذي صدر به الرواية، يكتب:"هذا كتابي.. عن personal pronounThat is the issue"وحتى الصفحة الأخيرة من الرواية،يوّفي فواز حداد بمقتضيات الإهداء كله، فكأنّ personal pronoun هو الراوي وهو السارد، وهو الرائي الذي يصنع الرؤية التي ستشكل اختراقاً حقيقياً في الأدب السوري خلال نصف القرن الأخير، الرؤية التي تقول، إن الكتابة عن الواقع بوضوح ودون مواربات ومحاولات هروب، أكبر من كل برستيج الأدب التقدمي التبريري والذرائعي، أكبر من التنظير الأجوف، والتعالي عن معاينة واقع على درجة عالية من الصفاقة اللاوطنية، أكبر من أن يتّهمك كاتب يساري أو آخر طائفي حتى النخاع بدائه ثم ينسلّ، وهو يرى القشة في عين أخيه ولا يرى الخشبة في عينه!
Progressive literature as a unified costume!
In the 1940s and 1950s, Syrian literature prevailed various and wrestling currents, and the novelists, poets, and stories moved between the right and the left, between social murdrama and critical realism at times, and sometimes socialist realism..Literary works were evaluated based on the talent of its writer, the uniqueness of his artistic vision, the privacy of dealing with his topics, and his intellectual stance towards the literary current to which he belongs and believes in it.It was natural, even in the 1950s, that it came out of the left, which was represented by the Book Association, which is looking for ideological scanning with the culture of the "Sobili Union", to come out who criticizes Nizar Qabbani and describes him as represented in his poetry "the literature of the immoral woman"..It was natural for those who respond to these people, mock their slogans, and continue to defend literary aesthetic values in the face of ideology..The major cultural magazines were the scene of these records and this diversity, until the Baath coup came in 1963, to eliminate the private press, and to impose its sterile vision on everything in life..It is replaced by literary critical categories, with empty slogans, such as "reactionary literature" and "progressive literature".It was one of the first to mocked these classifications, the poet Muhammad Al -Maghout, in an article on the Syrian cultural life, published in a Lebanese magazine in 1965.Later on, the term reactionary literature was revealed little by little about its sectarian and regional dimensions..All that is written by minority writers in attacking the culture of the Sunni component, its beliefs, values, and ridicule from it "progressive literature" and became a popular writer.It also stated in the merits of restrictions on it and brushing it from the radio later.
Literature denying reality!
The oath was crushed in Syrian political life, as in literature.The target was not only the religious oath, but even the middle right of the middle right that believes in the values of work and openness away from false slogans and the rabid left ideology.The bourgeoisie has become insulting, defending the values of the Sunni majority is backward, and trying to "revitalize" society with its succession and reactionary because it does not like the insults of the divine self and the contempt of Islam is the task of new progressThe end of the seventies of the twentieth century, it became required of literature to address this conflict in isolation from its real causes, whether under the pressure of official oversight, or the whims of "progressive culture" and the paralysis of the cultural left opposing the resurrection and sharing of the hashinah on the Syrian cultural life with it, a picture of literature that talks about prisons and aboutTyranny and repression and the conflict with the authority, but it does not recognize that there is a real sectarian problem, and that there is a minority that seizes the rule and is accounted for by privileges.Excessive, to purify it from extremists and Muslim Brotherhood militants who took the city hostage.The assassinations that affected official and partisan personalities in Hama were talked, as a reason, not the result of previous practices and a charged atmosphere that the authority has always contributed to the intention of it..And whoever is a little bit of integrity considered that what happened is a kind of repression practiced by a totalitarian rule and a dictatorial system, the target of which was not the people of Hama despite their reactionary and strictness, but the crime occurred out of the national "necessity", or the authoritarian nature.
Killing as pleasure and souvenirs!
Fawaz Haddad rebels in his novel (The Syrians Enemy) in all this context, when the events of his novel start from the Hama massacre committed by the Hafez al -Assad regime in February 1982.He does not justify nor justice, he does not try to understand us that killing and targeting innocent civilians and removing them from their homes to detonate them in front of their eyes was a necessity.From the beginning, it works to go to the deepest point in the intentional verb: fun.Enjoying the killing that results in all this masterpiece in creating its methods, the enjoyment that makes "compassionate killing" if a mistake or defeat occurs, calling for remorse and reconsideration of the way, and avoiding its repetition.
يتساءل النقيب سليمان بعدما اكتشف أسرة مختبئة مع أطفالها بين ركام حي الكيلانية المدمّر، وهو يجول بسيارته في المدينة التي امتلأت بالجثث، وقد اتخذ قرارا آنياً بقتلهم رغم أنهم لم يفعلوا أي شيء: "ترى كيف ستكون لحظة تلقّي الموت؟ الرعب بدأ يمنح ملامحهم طابعاً غريباً غرابة الموت نفسه، اللحظات التالية سيشوبها شيء غريزي، لن يزيد عن لمحة خاطفة.It must be supernatural, he will pay attention, lest it be lost, I feel the coldness of his nerves that the whole process, no matter how much its temperature is, is nothing more than taking into account the accuracy of the correction, not the ability to commit a small massacre that is not accountable and neither censors, it has become cheese not to take it.: "They are dead, part of a world that goes towards the annihilation that will keep it a memorial.".P. (31)
It will continue to win the souvenirs..Not in the form of looting and looting of the city and emptying the gold market in it, and extracting jewelry and rings from the hands of women, but also human souvenirs.In the Alawite village to which Captain Suleiman - one of the protagonists of the novel - says Ibn Taifa, Sheikh Hamed says:
"The dead of Hama with thousands and thefts of millions, looted from homes and shops, were reaching the villages day and night, and they were sold in the markets.. المصاغ المسروق، خصوصاً الخواتم كانت عليها آثار دماء"ص (212) ينفي النقيب ذلك متذرعاً بأن الجيش لا يخلو من ذوي النفوس الضعيفة، لكن الشيخ يتابع: "وهناك من جلب معه تذكارات؛ أياد مقطوعة، وآذان مصلومة.. ألا تسوّغ هذه الأعمال اضطهاد الطائفة في المستقبل، وكل هذا كي تستأثر فئة بالحكم" ص (213)
Al Qaeda and Exclusion characters!
Fawaz Haddad does not avoid mentioning the facts that the Syrians get to know silence and annexation, as the main actors in the terrible Hama massacre are Alawite officers, decision, nervousness and the tank of hatred, and the lack of moral and humanitarian obstacles, all of this carries the fingerprints of the Alawites and accepts them for the idea of the massacre as collective punishment and historical revenge.However, he does not deal with them as flat patterns, which attributes prior rulings, so inside - this consensus or submission at least - there are real femininity that rejects this brutality, and thinks about what it will have an impact on the futureHe who was narrated to the ears of Ibn Da’ia, Captain Suleiman, what he heard from the returning soldiers:
"حدّق غالب إليه، وأخذ يسرد ما سمعه بنفسه من الجنود العائدين من حماة، كانوا يتباهون بما اقترفوه من جرائم، القتل استمر ما يقارب الشهر!! هل بوسعك تخيله، يحتاج إلى ضغائن هائلة، من أين جاؤوا بها؟!"
This question appears to be the essence of the tragic problem in this novel, because the course of its pages is always searching for the nature of the environment that produced human beings carrying all these grudges towards the rest of the Syrians...Of course, the writer with the pretexts of Captain Suleiman does not underestimate the answer to this tragic question, by reminding the artillery massacre (1979) in which the Islamists executed dozens of officers students. يرد غالب:"لقد عوقب من ارتكب هذه الفعلة" لكن الجواب يأتيه:"لقد فعلوها مرة أخرى داخل حماة، قتلوا البعثيين"لكن غالب يعقّب: "أهالي حماة غير مسؤولين عما حدث" ثم يسأل النقيب مرة أخرى وكأن السؤال يحمل الإجابة في ثناياه:"هل وجدت متنفَّساً لأحقادك؟"ص (219)
The human and national exception is not limited to a number of situations and dialogues, but it includes building personalities, attending in the space of the novel does not prevent its sectarian affiliation and its work in the intelligence, without sympathizing with the one who has been forgotten to it, an unforgettable known to it.
Before the Captain Suleiman killed the family hiding between the rubble, the father sends the doctor (Adnan Al -Raji) to the throwing field, with a deception that there is a wounded officer who needs an ambulance.There is clear the message, the sending here means arrest and death.The Alawite Assistant Dergham, who took over the detained doctor, gets to know his identity, and remembers the humanitarian position he brought to him, when he visited him in his clinic in the Orontes Square a year ago, on the eve of Eid al -Adha to treat one of his sons..His other children wanted him to buy Eid clothes for them.The doctor felt this, so he refused to take the inspection fee, and he forgave him from buying the medicine by giving him free samples, he was known to him and the assistant would like to return him to him when he reaps the olive crop, but the massacre was earlier in their collection.The assistant decides that the doctor will save the execution with his knowledge of the arrival of the field court officers from Damascus, but Captain Suleiman, who was honored by the infant’s escape from death and the disappearance of the old woman who saved him, remembers his detainee’s father, calls the field of throwing and the assistant requests Dergham to reassure the doctor’s occurrence in detention, Claiming that he was arrested while he was healing the wounded, so that the Field Court does not have any opportunity to exclude him from the death sentences.The doctor (Adnan Al -Raji) sees the mass execution massacre with his own eyes, after the assistant, Dergham, managed to get him out of the detainees before starting to implement them, claiming that he is the doctor in charge of examining the bodies and making sure everyone dies.
هكذا تنطفئ نيران الحقد والتوحش، يستعيد ضرغام شيئاً من إنسانيته، يتشارك مع الطبيب القلق على حياته، يقول له: "ادعُ الله أن يوفقني في مسعاي معك" لكن عندما يفشل في مسعاه ويُكتشف أمر الطبيب الذي كان يُفترض أن يُعدم بالأمس، فزاد عدد المعتقلين الذين أوقف إعدامهم واحداً اليوم، يقدّم له النصائح:"مهما امتد بك العمر، لن تحظى سوى بالإعدام. ليتك لاقيت حتفك في حقل الرمي، سيصيبك من الأذى ما لا يطاق، وتتمنى الموت ألف مرة(...)من حسن طالعك أنك طبيب، حاول أن تموت بسرعة، لا بد تعرف وسيلة مضمونة وسهلة".P. (101).
The personality of the assistant, Dergham, appears to be part of a narrative structure that wants to dissect reality, but without stereotyping, and she wants to reflect in her mirror lines and shadows, but without hiding the features and human divisions.The goal of caring for these exceptions is not a balance in the argument of the harsh historical prosecution that the novel leads strictly, but rather to show more brutality and its irritation through the humanity of rare exceptions with sincerity and adult faith.In other words, Fawaz Haddad plays the game of exceptions skillfully, he balances it accurately, he does not search for it in order to say that it was objective and not generalized, because the exceptions often confirm the rule of things and do not deny them, otherwise people would not have dealt with it as an exception, if there is no prevailing rule that does not resemble them.This not only applies to the sympathetic Alawite assistant, but also to the Sunni pioneer (Marwan Al -Sanitri), who wants to keep his Alawite counterparts with brutality in order to prove his loyalty to the regime, and gain his confidence and trust.
In one of the situations I gathered with Captain Suleiman during one of the field sessions in Hama, this pioneer tries to approach him by fabricating a lie to assume him, but the captain does not deceive him this attempt:
"The pioneer's attempt did not deceive him to look generous with him, his weakness is known.The pioneer is not Alawite, his qualifications are that he is a Damascene, who carries a good amount of regime's sins.In the branch, you doubt it, do not support it other than its cruelty and exaggeration in the implementation of what is entrusted to it in order to obtain their confidence, those that cannot be obtained in full at all..However, it will win a prosperous future, how much will this future last?Year, two years, more or less?It doesn't matter.A day will come when he goes with the crimes he committed and did not commit. لو استطاع تبديل مكان ولادته لما حاول استرضاء أمثاله من الضباط العلويين" ص (63).
Alawites and the Damascus knot
The construction of this fictional figure, who quickly died at the hands of the Alliance of Defense Brigades and Special Units in his assassination in front of his home in the sight of his girlfriend who sees the scene from the window, does not seem separate from the historical pleading that the novel provides to strip the sectarian state from which the regime is derived fromHis nervousness, whether through the course of events, or the sounding of the worlds of personalities and factors of forming their desires, and even Marwan's relationship with his beloved (Lamis), a dentist who claims to be Damascene, then we discover that she uses the name of Damascus to hide her sectarian affiliation that is struggled as one of the parachutes that he launchedAt the beginning of the eighties, Assad raised the pilgrims from women in the streets of Damascus, then she reaped additional signs that I qualified to enter the College of Dentistry without completing their studies in it, but to open a smuggling line for medical equipment, even this relationship seems part of the stripping of the sectarian condition with intertwined structure of relationships and transgressionsAnd the encroachments that transform the fate, ascend and collapse, away from any real social effectiveness of other components.
The sectarianism that dives this narration is not deep in its ways, a behavior limited to the regime or the Assad family and their relatives, this symmetry idea that many have tried to market and justify, Fawaz Haddad works to boldly and realize it.The Syrians know it completely and circulate its details in their daily conversations, but the writers deny it when they write, so their writings come completely contrary to their knowledge of the Syrian reality of live..Perhaps the best that can be a mirror of this behavior, is not the aggressive relationship with the city of Hama, but with Damascus.
In the Damascus mirror, and the vehicles of the deficiency contract towards Damascus, the sectarian vision crystallizes in its most evident form, not in the form of massacres, executions, and wild revenge, such as the one who took place in its protectors, but rather in the form of social relations overlapping multi -dimensional levels..And what (Lamis) is that it is Damascene, except a dramatic test of its relationship with the Alawite Captain, a virtual game that reveals the Alawi vision clearly to Damascus and its society;When (Lamis) alluded to Captain Suleiman - after the assassination of her pioneering lover, Marwan Al -Sanitri - that she can have a love relationship with him, the total narrator asks: Knowledge:
"هل يثق بما لمحت إليه؟ لا يجهل أن العلويين مكروهون، والدمشقيين مغلوبون على أمرهم، لا يغفرون لهم تسلطهم عليهم، ولا يتجرؤون على إعلان نقمتهم، بينما العلويون يحسون إزاءهم بالدونية، ويرغبون في إخضاعهم. لميس لا تدرك هذه الحقائق، لكن في حال وعتها وتجاوزتها فلا عائق في علاقتهما"ص (192).
When Captain Suleiman came out of his estate for the first time in the early seventies of the twentieth century, heading to Aleppo, and there his prominent Baathist uncle resorted to him, when Hafez al -Assad was preparing for his corrective movement by arresting the Baathist leaders who demanded his dismissal from the Ministry of Defense, so he was not from his nephew except that he had been tired of his uncleWho was despising him, of course, and during his visit to Damascus for Al -Shuhaya and the news, the image of the city and its people seemed as follows:
His frustrating visit to Damascus will lead him until the capital becomes its goal, there is the world and life, while the estate is not a world or life.The Damascene will hate, and it will be eliminated.The idea was not strange, the rural parties believed that the revolution was aimed at invading Damascus. بالاستناد إلى أن البرجوازيين الإقطاعيين في زمن ما اضطهدوا القرويين عامة وسخروا منهم، خصوصاً الحوارنة والعلويين، وبما أن الدمشقيين برجوازيون وإقطاعيون، فحان أوان سداد الدين"ص (73).
In another dialogue between Captain Suleiman and one of his childhood friends (Ahmad), Suleiman says: “This is the time of the Alawites,” Ahmed responds to him: “He will afflict us with woes.” Then the narrator continues:
"Ahmed did not say it in arbitrariness, it was the aspiration of many who landed in Damascus and lost in it, floundering their desire to take revenge on it and acquire it. عندما يلتقي بصديقهم عارف تتردد في أحاديثهم نغمة الانتصار ما يبيح لهم انتهاكها، كأنهم هم الذين تغلبوا عليها لا العسكر، ورطوا أنفسهم بكراهيتها تحت زعم القضاء على البرجوازية"ص (265).
This image, which the Alawites draw for Damascus, based on the complexity of a lack of personal and association at the same time, soon its features and dimensions expand, when the revolution that threatens the regime’s survival erupts, here the novel goes to the broader social space, the space of the relationship with the Syrians as a whole, and the revolution becomes a dramatic and political test for a saying"The kidnapped sect".What the novel says in the words of Captain Suleiman, comes an eloquent historical intensification of the image of Al-Alawi, the son of the authority in the Syrian conscience, and the most dangerous: to the image of the Syrian- the other in the conscience of the Alawites.His position and advantages.And the following dialogue takes place between "we are the Alawites", meaning Suleiman and the son of his estate:
"We Alawites must realize that power is a preserve of us, do not tell me that you are ignorant of what the immortal president presented.Granting the sect all forbidden from it..Money and influence, the only qualification for any of us is that he is Alawi.The President did not fail, he walked to his father's approach.The Alevis gave trading, pledges and positions, and opened smuggling and prohibitions.He did not hold them accountable for their crimes, thefts, and their gangs.I gave them the way to occupy various sites in the army, intelligence, state, media and the press..From small to large jobs.Even the opposition was not without them, they were only Syria and without a partner.Other sects were only attached to them, we only satisfied them with crumbs, and if it is more, we are their partners, we have the greatest share of what they earn.This is a blessing that should be preserved and defended.Ahmed objected: Many of us did not try to use, they were poor and still.Suleiman: Even poverty we grabbed them.The confession was only confessed to our poor, as if there were no poor people. هل سيفهم صديقه الغبي الطيب أن موعد السداد حان؟ ليس بلا مقابل، لقد أعددناكم لهذا اليوم" ص (461).
The law is the focus of the dramatic conflict!
Fawaz Haddad dismantles the engine that leads the wheel of life in Syria, and in order to explain how it is going on and what is the driving forces for it, it monitors the most prominent conflicts of that era:
- The conflict between sectarianism and the values of patriotism.
- The conflict between the strength of the theory and the actual intelligence services.
- The conflict between the sanctity of God and the sanctity of Hafez al -Assad.
The conflict between sectarianism and national values open the door wide to cases of favoritism and corruption..That is why the laws of the law that Fawaz Haddad entered into his narration as dramatic heroes: Judge Salim Al -Raji, and Professor Rushdi, the advisor in the Court of Cassation, were not just a state of professional diversity for the characters of the novel, because this mentality must collide with the law in every movement and stillness, it must be trampled and regretted its valuesAnd it gets from his presence and strength, it must make him an abstract impotent that is not only one of his weapons in the face of the weapon of the sect, but from his ability to act and move.
The dramatic conflict here is between the men of honorable law who hope that corruption will not spread in the state institutions more, and if they are involved in hopes far away, they yearn for contributing to some reform, and between influential intelligence men, and are linked to the Republican Palace, of course, the law for them is a game or an excuse, and in the bestSometimes corruption is full of information, but it is postponed until it is used as a way of political revenge, and not as a goal for the eyes of the homeland or justice.
Perhaps the most beautiful thing about this "dramatic struggle" is his strong trust in the reality of the situation.It is a struggle of desires, not a strong struggle.It is ridicule to say that the men of law, no matter how much they have, have strength or immunity when the other party is intelligence services..Even in terms of desires: it is a struggle for exhausted and pierced desires.Perhaps the reader will breathe a sigh of relief when Professor Rushdie, for example, can fold - using his relationships with two influential parties - the file (the judge cell) that one of the security services fabricated it to undermine it, and summoned a group of judges of the Judicial Palace to investigate them..This "victory" is the maximum that can be reached in the state of law, but only..Professor Rushdie and Judge Salim Al -Raji will turn into a collaborator with the special apparatus that Captain Suleiman founded in the Republican Palace, but the result they reach does not seem to be disappointed only for their personality, but is an expression of the bell of the entire homeland:
"Whatever what happened and what I have done, I was sorrowed and despair, the image of the country was exposed in the depth, it was torn by windows, seeking to seize everything that generates money: pledges, importing cars, advertising, tourism and antiquities, artistic parties, dramatic, dramatic, drugs...Interests may intertwine, contradict and intensify competitions and differences..The image is terrifying, we have no place in it, and anti -any change except in the same direction.The country that we know in the decline in favor of the centers of power infiltrated in broad daylight to its institutions and facilities, every day it bites any of them. لم تكن السيطرة على الهيئة والقضاء إلا نموذجاً شبيهاً لما يحدث في قطاعات الدولة المختلفة، تتراوح نتائجه بين الاحتلال الكامل والاحتلال الناقص، ولم يكن نقصانه إلا تمهيداً لاستكماله"ص (354).
With this language with a high tragic sense, the accuracy of correction and depth of access to essence from behind a set of observations, details and appearances, Fawaz Haddad reduces the state of law and the judiciary, putting it in the context of the image of the country that was exposed to desperate law men, when one of the most powerful security services allowed them to open closed doorsAnd entering into the mazes and corruptions of corruption, but what Professor Rushdi realized from this task, was more severe than the results and the abuses that included in his files:
"Professor Rushdie realized that the files that we contributed to will one day be a sword on their owners to ensure their slavery.It has become more faithful that if corruption was damaged, life would stop in the country. We have maintained its permanence and its good rotation. كنا نعمل ضمن الشبكة الأخرى للفساد، وساعدنا على ترسيخ ما نحن ضده"،ص (355).
In other words, the reform was conducted at the hands of the criminals themselves..And because it will only produce more crimes under the cloak of fighting corruption.
The drama of atheism and the drama of Hafez al -Assad!
The most exciting dramatic conflict is the deification struggle.The Alevis attempt to replace Hafez al -Assad in the place of God."God is the number one required in the Syrian intelligence services," a miraculous Shakespeare is a miraculous sentence that Fawaz Haddad reduces this conflict.. وعبارة:"حلك يا الله حالك.. يقعد حافظ محلك" التي انتشرت بعد مجزرة حماة، ليست مجرد شعار غوغائي مفرغ من مضمونه. إنها مثل:"قائدنا من القرداحة.. بيعطي على الله لاحة" هي تعبير عن هوس طائفي في محاكاة العبودية المطلقة التي يكنّها المؤمنون لله عز وجل.
Hafez al -Assad attends as a novelist in (the Syrians) as the "President".When Captain Suleiman or the "engineer" as he called him, taking advantage of the balance of his humiliation after he was tired of his maternal uncle, who resorted to him, then the meetings with the president are repeated, his opinion is mixed with the idea of his inauguration, not an absolute ruler or a distinguished person among human beings, and the dialogue that takes place between them,It seems one of the most sensitive dialogues of the novel:
"لم يجد رابطاً بين المديح المبتذل وتشبيهه بالله، كان انحرافاً نحو الإلحاد؛ المهندس يلقي الكلام كيفما اتفق.He asked with annoyance: Are you an atheist?The engineer's era is his brain to support his idea, not atheism.What satisfies the president, to be a believer or an atheist for him..He thought that the president was an atheist, while it seemed to him now as a believer, so let his confused approach: I do not know sometimes I find myself an atheist.It pretended that he is talking about something else, justified by the rare atheism coincidences, invested in the proof that the sky is empty of God, evidence provided by the consequences of dark eras that were devoid of the Creator, and generations of eyewitnesses did not see him..P (303)
This atmosphere is consistent with the engineer's throwing of the idea of deification as a stone in a static lake that expresses its impact on what the circles make..Even slowly.Hafez al -Assad refuses at first but he does not get angry, then he accepts and lives in the roughness of the sinful idea that mimics his internal aspirations.He joined him with his cunning personality, when he seems to be a custodian of his speaker as if he does not mean what he hears, while he is aware that he turns ideas on more than one face, and opens the way for the owner of the proposal to implement it at his responsibility, if he fails a computing, and if he succeeds, he will be from his wise directives!
This state of cunning refutes the idea of absolute intelligence of Assad as a novelist person here... وبالطبع فإن بوابة التأليه كما يراها المهندس هو نشر صور حافظ الأسد في كل مكان، ولا شك أن فواز حداد قد استفاد من كتاب (السيطرة الغامضة)، لليزا داوين في تحليل دلالات الرموز والصور التي طبعت مرحلة حافظ الأسد، لكنه استطاع بتمكنه الفني أن يدخل تلك الأفكار في النسيج الروائي بعبارات من قبيل: "الرئيس في كل مكان مثل الله" أما الهدف الأعلى لهذا التأليه، فهو أن تخرج عملية تأييد الرئيس من آليات الولاء السياسي حتى في حدوده المطلقة ونسبه المئوية التامة، إلى حالة العبودية:"الرئيس في يوم مقبل سيمثل الله. والتعبير عن الولاء لن يكون أقل من العبودية له" ص (317)
The conflict over the existence of God is not limited to the project of deification of Assad, but rather integrates with the generosity of crushing people and torturing them to death in the prisons of the regime, the most famous of which is the Palmyra prison, which the doctor (Adnan Al -Raji) leads to the judge's brother and one of the protagonists, to live the years of eternal hell.
In that hell, even those who were imprisoned because they are from the Islamic trend, some of their faith after their executioners challenge them, that God will save them from what they are exposed to under their whips, the tranquility of their patrons, and the flames of their quadruple cables..The disbelief becomes the idea of the god who will hold these industry accountable.The focus of this industry is that the absence of God from the heart and conscience will make these executioners more free to kill, relax and torture..And their victims will make more despair in resistance and resilience, and more surrender to the unjust Assad destiny as an alternative to the just divine destiny on the day of reckoning..
The dialogues of suspicion and blasphemy that begin in the first chapters of the novel between the Sunni pioneer Marwan Al -Sanitri, and the Alawite Captain Suleiman, are not intended to show the shocking of these ideas, as much as Fawaz Haddad is established by it, a general climate, for the country in which the might of injustice has been challenged, challenging faith in God and his divine lawJust as the statutory law also challenges.
This collapse establishes many of the views that Fawaz Haddad excels in following up with the suffering of the doctor Adnan and his companions in Palmyra prison.There is where the mind of human beings does not imagine that the battle to preserve faith is greater than the battle of the mighty miraculous struggle to survive, as it is today, every moment in front of their eyes.
Narrative architecture engineering
Although it is difficult in this study to easily move from the momentum of all these conflicts and its amazing details in terms of content to the contemplation of the artistic form, it is clear that familiarity with all these details, axes and paths, requires Fawaz Haddad to work on architectural engineering with solid foundations so as not to be lost from itFrom the reader, the lines, or the growth of conflict slows at another expense, while each of them - objectively - leads to the other.
Fawaz Haddad section of his novel into two basic parts:
- الأول:بلاد الموت والخلود وتبدأ من مجزرة حماة في شباط عام 1982 وإن عادت في امتداداتها الزمنية إلىانقلاب الحركة التصحيحية عام 1970، واستمرت حتى سنوات توريث بشار الأسد الأولى.
- الثاني: عالم جديد ويبدأ من اندلاع اضطرابات في تونس نهاية العام 2010 واندلاع ثورات الربيع العربي، ثم تفجر الثورة السورية عام 2011 وما تلاها من أحداث الجامع العمري في درعا في شهر آذار، وصولاً إلى اقتحام الجيش لمدينة حماة في شهر آب 2011، وتوسع رقعة المظاهرات والاحتجاجات على كامل خارطة البلاد تقريباً.
Within these two large sections, there are many chapters, each of which includes three paths: the entrance to Judge Salim Al -Raji.Captain Suleiman's path in his various locations and movements, and the path of the detained doctor Adnan Al -Raji and his torture, traveling from the moment of his arrest in Hama to the security branches in Damascus and ending with the hell of Palmyra prison.
All of these tracks grow within one chapter, and they go in parallel lines, with which the narration is parallel to, as is the narrator parallel.
Salim Al -Raji’s editorial in each chapter, is done in the form of (I) who is always speaking, that is, the self -narrator who tells an aspect of his life and his observations.And the rest of the tracks are presented in the form of (he) or the conscience of the absent..Through the narrator, it leads the narration as it leads the development of the building’s construction and sometimes hides within it to reveal its internal desires..
We are not in front of a state of complete voices, nor the sound of a single narrator, but we are facing a bilateral state in which the subjective and objective narrator alternates, so they complete each other, and the structure of the narration turns into a unique mixture of reflections of a supposed CV, and a general objective narration.
This interlocking structure, as much as it appears to be complex on its face, but it contributes to the praise of the narrator's architecture, its richness and good tabs, as if Fawaz Haddad was taking us more than one path, and pushes us to walk in more than one line in parallel to control this huge flood of facts, ideas and reflections thatDraws the Syrian world.
Notes and problems
The basic observation of the novel remains the small number..And some of the turmoil suffered by the negative hero’s intention in the novel (Captain Suleiman), is it really qualified for his limited biography in the army, and his academic failure, in being a “engineer” of major policies of this kind, and he started his life and a small woman with a failed study stage to play this role?
Undoubtedly, his affection with his maternal uncle and personality morally and valuable is an advantage in the scale of the regime standards, and Hafez al -Assad personally relied mainly on people who are worn and a blade for the death of the values of honor in the pattern of state management...But I think that the structure of the engineer's personality was worthy of the richest in some aspects, compared to the role I played.We also cannot fail to contemplate the small presence of women's personalities in the novel as a whole, despite the importance of the personality (Lamis) and the transformations that they cross to reveal their very wealthy psychological structure..
Although the writer was able to build the narrative personality of Hafez al -Assad convincingly, and is largely intersecting with the prevailing general impressions of him, and focused on his personal role in formulating mafia standards in the management of the state and the selection of its men, but the depiction of his battle in Lebanon as a victory ended with forcing President Amin GemayelOn the abolition of the May 17 agreement with Israel, it cannot be placed in its correct context, unless it is associated with the reminder of its regime's role in removing the Palestine Liberation Organization from Lebanon, and the siege of Arafat in Tripoli and the bombing and starvation of the city before the organization's departure by sea to Tunisia at the same stage.Without stopping at this event, the cancellation of the May 17 agreement will appear an honorable victory, although Hafez al -Assad historically did not achieve any honorable victory in his entire career, neither politically nor militarily, his victories always were shameful, starting with his corrective movement in which he treachery even with his new Salah new teacherAnd through the "victory" of the Tal Al -Zaatar massacre in 1976, and not an end to his "victory" in the baptized Hama with blood, destruction and body parts !!
The novel of ruin and the evidence of reform!
The novel (The Syrians of Enemies) as much as it appears as evidence of the comprehensive Syrian ruin caused by the era of Hafez al -Assad and its devastating extension in the path of Syrian life at all levelOr he understands what Syria inherited by Hafez al -Assad to his son, then his son did not remain a stone on a stone?!What is its problem?What kind of corruption did it rule for decades?How do humans die and live?!How are they accused and acquitted?How are they tortured and rewarded?
You will learn from this narration the meaning of the wild country that Michel Sora spoke about in all its manifestations and pictures, you will understand the mechanisms of the rise of the security agencies and its conflicts, and the wars that take place between its managers are not in order to preserve the security of the country or the system or the difference of their views on the way to achieve this..Rather, in order to invent any file they climb through it through the souls of the innocent, they invent a fake cell and then inflate it and then dismantle its danger, after they destroy the lives of dozens of innocent people who have no camel or camel..Neither in the lie that they invented, nor in the gains they will crave.
* The narration of (the Syrians) is the novel of the historical Syrian pain, the pain that the Syrians paid for years of age and the future of their children and many of the future of their homeland.It is created by a brave novelist who took writing a way to fly his testimony on an era he lived and sought sincerely to reveal and strip him, demolish his blocking and drop his conviction.His courage was associated with artistic ability, a high privilege that deserves the Medal of Conscience.Nothing but conscience.