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A critical book was published a few days ago on the trip of Rifaat Salam Al-Sha, entitled "The Next Day" by critic Ahmed Siraj in a series titled Egypt's literature. And cultural circles celebrated this book and the experience of peace in general. And on his seventy-seventh birthday, we end with him during this dialogue to learn about his vision of cultural and literary reality and the state of translation and the relationship between the public and culture and intellectual with the relationship of power as well as a picture of the poetry and the world of translation. To the text's text:
■ "Next day". The thought of a critical book about your experience and your long and rich poetic journey. To what extent do you regard it as fair for poetry?
"Next day" is an initiative and an exceptional case in our cultural reality. It was launched by Ahmed Siraj. More than 25 critics and poets of Egyptian and Arabic criticism and poetry responded with all sincerity and awareness, and others responded to cover the cost of printing. In fact, the event itself is extraordinary and illuminates in different directions, for those who want it. This is a matter of gratitude and gratitude. Everyone has made the maximum of their cultural and monetary energies to complete the chapter of the book, without any purpose beyond the cultural goal. Is there anything more appealing to me?
There are critical or semi-monetary "follow-ups" of the new titles. It's almost a week now without a symposium or two – and sometimes three – to discuss poetic issues. Which is already important. But what's missing from the monetary scene is the "creation" of money. In Egypt, we have not yet a well-written book of a decent standard for "prodigy" that dominated the poetic reality for at least a quarter of a century. Everyone talks about that "poem" in an impressionist, partial, random way. Neither establish.
In the mid-1990s, I recommended the translation of Susan Bernard's famous book of prose poems, which had never been translated before. It has already been translated, and I have reviewed and submitted, hoping that reading the unique basics will increase the degree of critical writing of the prodic token. But later writings were unfortunately not affected by the seriousness, gravity and extent of the French book and appeared and still appear in the vast majority of amateur and temperate amateur writing. Critics still work critically with the "prodigy", as every poem "active", without discrimination or integrity.
■ "Take care of water on the water" is your last poem. Can it be considered an extension of your poetic journey, or does it have a unique context to read through?
"I feed the water on the water" is not a "religion" consisting of individual poems, as usual, it is a complete "poetry" that begins and continues – to the end – in connection with a single poetry that is linked to each other. (2008), from the expansion horizon of the writing horizon, by making the page available to polyphonic, polyphonic and textual forms, including the various drawings on each page. Writing is multilayered on one side and cutting, reflective polyphony, like drawings, without a predetermined, no complete pattern. No previous copy, or an element's dominance over another, or the uniqueness of an element – or a poetic voice – in space for a text or page.
A large forest of sound and lively, transverse, intertwined and penetrating spaces that penetrate space on the page to universe, geography, history, past and present, literary and figurative;
■ Raise Salam Almoghl in the experiment .. Is there a mistake in the title of your latest book, which holds a rhythmic sense while you are a pioneer in prosthesis. Or is nostalgia for poetic music?
There seems to be confusion about my poetical writing, from a rhythmic angle, due to the lack of specialized studies, the accuracy of reading and the "principle-based" defense principle. All my poetic works include a rhythmic, rhythmic, not a big rhythmic pattern, but as a "participatory" style. Early, I did not find the bottom of the final bilateralism introduced in the 1990s with the "new" poets: a poetic poem / prose poem, which, in my opinion, is a fake duo, which poetry and creativity usually do not tolerate. It believed in the poets of the seventies and beyond, from the book "Poem Trvila", subjected to the sweeping wave.
To me, the emotional rhythm is a "building" wealth of folly, wasted for free, giving the poetic text pluralist in the rhythmic state without mono. In the "Blessings of Peace" I found – by writing – the rhythmic blend of prose, rhythmically and spontaneously – the sensational spontaneous rhythmic flow, sensational cruises and the anesthesia of the soul; It is a continuous approach in my following work. For me, the "emotional" rhythm is necessary, I use it (do not use me) in some places of poetic construction, to serve the overall structure of the work.
■ I remain and are still the main supporters of the proverb in writing, perspective and history. How do you see it now?