«عشبة ومطر»... سيرة سنوات المحو

"عشبة ومطر": A Journey Through Eras of Erasure

This novel, published by "Al-Ain" publishing house in Cairo, delves into the heart of Arabic culture, exploring a central question that haunts the present and future: the struggle for survival of language and history amidst a rapidly changing landscape.

A Tale of Two Voices

Through the multi-vocal storytelling technique, the novel deepens the conflicts faced by its protagonists, "Ushba" and her son "Matar." Both characters share a deep appreciation for their cultural heritage, but find themselves caught between the pull of tradition and the overwhelming force of globalization and digital communication. The story unfolds in the United Arab Emirates, where "Ushba" struggles to connect with her family across generations. The novel reveals a society where English dominates even within homes, particularly among younger generations, leading to a sense of estrangement and a disconnect from their Arabic roots. "Ushba's" attempts to bridge the gap are often met with discouragement, as her family dismisses her concerns with the phrase: "Don't make a big deal out of it!"

Boxes of Memories

This critical voice weaves its way through the narrative, as "Ushba" becomes preoccupied with preserving her connection to the past. She painstakingly documents her memories, intertwining her personal journey with the collective memory of her people. The novel traces her life from her time as a teacher in Sharjah to her retirement, reflecting on how her generation navigated significant political shifts. From the formation of the United Arab Emirates to the Arab-Israeli wars, the Lebanese Civil War, and the Palestinian conflict, the novel evokes a sense of historical urgency. "Ushba" meticulously collects newspaper and magazine clippings, creating a physical archive of her experiences. These boxes, filled with the remnants of the past, act as a counterpoint to digital storage, offering a tangible connection to the past, imbued with the emotions and physicality that digital archives lack. Each box, with its personal relics, reopens wounds of loss and grief: "I replaced the lid of the box, needing a greater courage to delve into it. Inside, there was a Palestinian dress embroidered by a grieving mother from Beersheba, the mother of my friend Samira, the sister of a martyr. And a notebook of Nazik al-Malaika's poems, written by my friend Maha from Gaza. Pictures of my colleagues from Jenin, Nablus, and Ramallah. Letters from my friend Ibtisam, a Jerusalemite. From Haifa, embroidered rugs from my family friend, Umm Ramzi."

The Pursuit of Lost Objects

As the narrative moves from box to box, the story of "Matar," an expert in antique evaluation, unfolds. His passion for artifacts leads him into the world of European auctions, where he finds himself entangled with art smuggling rings. He becomes drawn to the stories behind the objects, like that of a Damascene mirror, whose owner recounts his family's history of displacement and their creation of the intricate mirror during the Ottoman period. This pursuit takes him to the prestigious Christie's auction house, where the mirror sells for millions, reflecting the intersection of history, artistry, and economic value.

Plunder and Erasure

This 350-page novel shines a light on the missing and plundered artifacts, viewing them as historical evidence of a systematic exploitation by "cultural property traffickers." The narrative exposes the interconnectedness of auction houses, museum curators, and forgers, highlighting the elaborate networks involved in the trafficking of artifacts, particularly following the Arab Spring and subsequent civil conflicts. The novel highlights the rampant looting of archaeological sites in countries like Tunisia, Egypt, Syria, and Iraq. The stories of these lost objects, intertwined with threads of nostalgia, serve as a reminder of the enduring legacy of cultural heritage.

Beauty in the Face of Loss

The novel's language meticulously describes the beauty of intricate details, showcasing the artistry of traditional carpets, ancient Granada-style decorative motifs, and the elegance of Arabic calligraphy. These elements stand in contrast to the homogenizing influence of consumerist culture, which often prioritizes brand names and Latin alphabets over Arabic script, erasing the unique aesthetics of Arabic culture. "Ushba and Matar" won the prestigious "Al-Uwais Award for Creativity." The following excerpt embodies the spirit of the novel:

"I was short, jumping to reach the doorknob with my fingertips. When I got a little older and could grasp it, I was captivated by its shape, made in the form of a human hand. Then I realized that there were two hammers, one above the other. I was curious and asked my mother why, and she said, 'Our door used to have one hammer, but your father was so impressed by the craftsmanship of Baghdad, he brought two hammers back, attaching the bigger one on top for men and the smaller one below for women. That way, he could tell who was knocking by the sound. We knew if it was a man or a woman by the sound of the hammer.' ...I used to listen to the knocking. I knew my mother's three knocks, and she knew my quick ones. There were happy knocks, knocks that made your heart skip a beat, gentle, loving knocks, and knocks that sounded like children's toys."