The Saudi writer Shukri Al-Mabkhout, one of the most famous Arab novelists of the modern era, is the great intellectual who won many great prizes in the Arab world, such as the King Abdullah Bin Abdulaziz International Prize for Translation in 2012, the International Prize for Translation Arab fiction (poker) in 2015, 2018, but little is known about his life and youth, as well as his views on cultural and community issues that formed his good vanguard.
The great writer Shokri Al-Mabkhout confirmed in an interview with media sources that the International Prize for Arabic Fiction (poker) enabled him to distribute his book in the Arab world and other than the Arab world. "But I think every book has a history made by its readers, and maybe one day people will find what they haven't seen today, or what the Taliban has denied them," he said. I wrote Papinda to translate and found affection among readers outside the Arabic space, but it did not prevent me from writing two novels that are published one after the other and that I continue the project of my novelist and write the rest to the taste of readers and the course that digs up this or that novel. "
"I have no secrets and I, who lived in a popular environment and a normal childhood that was only ruined by the void, and the search for another interesting world in the books," he said, "I could only follow school courses and a spend your holidays and summer with pleasure and play like Atrabi. " "I was one of the summer days sitting on the doorstep of our house in the old town and suddenly a neighbor at the age of my father asked why I was alone," a memory breach incident said. "My answer was spontaneous" is the void and is waiting for friends to play the ball. "He said to me:" If I were your place to go to the public library, reading is fun, not equivalent to playing the ball. "After a day or two, I discovered the library and sank into the book world until it became subordinate to me. "He said.
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He continued: the writing was neither ambitious nor planned for him at that time, but came as a generation of ideas I read and Tnasl thoughts. Scribbles in poetry and prose trained no more and no less. And the deciding factor to become a writer for Saidi until he became a professor after many years.
"Every language we learn is a journey to a new culture that we explore, a new wing that we fly to different, more beautiful and beautiful skies," said the great writer. "We may not be in the Maghreb. We had to speak like the French and perhaps better to avenge the old settler and prove it in his own language, which was taught to us by our teachers and encouraged us to learn the languages. Sound the Mieh dialect was banned in class. It may not be strictly the power of law, but I cannot remember the Tunisian dialect instruction, and this is the origin and the rest deviation. "
It is normal for this bilingualism to generate a kind of linguistic and cultural distribution of those who see no integration, openness and self-enrichment, and there is actually a problem sometimes in rejecting the language of the old colonizer from the door. The national narrow-minded or in the direction of contempt for the Arab by the knock Klock of some French speakers … Personally, I do not have two contracts, but I believed that the role of participation in the modernization of Arabic and development make a language of enlightenment, we say our problems and concerns and concerns with the benefit of what it offers The French language and English also have access to ideas, theories, fantasies and experiences in their manifestations, each language has its own secret and charm, and not the translation as the origin of some types of discourse, and it is fortunate that I grew up in a country, culture, multilingual environment and people who are comfortable "You really know Languages".
Al-Mabkhout added: "I think I live as my generation, I have the peculiarities of learning about different cultures in different languages, but I am aware that the way of writing in Arabic and the experience of modernity is a healthy and responsible path and has been consciously and responsibly chosen.The cultural problems that really have to do with the writing material and the impact of the target group on the adaptation and the impact of cultural backgrounds on written and other issues is important is about more production and writing and the rest is ensured by historical tranquility For aesthetic and intellectual attitudes, for example, I cannot deny the importance of what Hisham Jouait Tunisian or Abdullah al-Aroi Moroccan or creativity writer Yassin and Asia Jabbar Algerians or Amin Maalouf Lebanese French and others was a part of us, meaning my personal choices in language, thinking and writing not that I do not respect what is offered in French or elsewhere.
Shukri al-Mabhout refused to consider Taliani's novel "an elitist novel" based on the diversity of the readers I met in Tunisia, the Arab world, Europe and America, and I tell you that I am Reds or something else don't follow, except because the reviews don't tell me anything. The reader is free in his evaluations, but we should not replace the authority of professional critics who sometimes reveal a lack of knowledge of writing by readers who may have reading experience but who express about Behind it is not personally based on knowledge. So many observations have said about the novel not showing and proving writer familiar with art or at best, the writer's words is not helpful. "
"I think it is my job to write and present readers that I think can raise intellectual and aesthetic questions, and the rest is not my business, not the speed of the novels, nor the observations that the novelist does not have My problem is that I come from creativity to criticism and that I have a simple knowledge of what is based on knowledge and what is built on purely impression and taste Thanks to the readers of these platforms about one thing that concerns me a lot is their love of literature.
When asked about his assessment of the Arabic story, he said: "I don't think the social aspect of the meaning of this word is negative if it takes into account the details of narrative writing, and in many models of the Arabic novel I do not see such a revelation The problem of the Arabic novel when we place it in the context of what is written in the world that it is quantitative limited.
He went on: the novels published in the world are many and varied, and in them that is amazing and wonderful of ideas and rich in worlds and powerful personalities. But what is the quantitative contribution of the Arabic novel from this production? Which stories are successful or can succeed according to the different tastes of non-Arab societies? The world is not one mass, and the openness of people to other cultures, such as the Arabic culture, is different in quality and quality, and the book market is not uniform. What this market accepts from the Arabic texts cannot be accepted by another market according to the standards of publishers and the tastes of readers and to diversify novels. Etc.
And completed the Mkhkot: let the translations based on the relationships of friendship or prepayment of a publisher be unbelievable or try to translate the aesthetic or financial costs. The greatest thing that we, the Arab writers, are alive is that translating a novel for this or that it will make a global writer without defining the concept of the world writer. Yes, translation is important to reach readers of others, but do you sell our novels when they are translated into German, for example, what do the average novels originally written in this language sell? Is success measured by the number of copies that are withdrawn and distributed in the market? Many questions I cannot answer But it is difficult to reach The world is linked to the aesthetic breakthrough that can be made in the text of the global novel, which is difficult to trace for Arabic novels or about which it is even possible to reassure .
On receiving many prizes and in various areas in the novel, in translation, in biography, in literary studies and even in children's literature, Al-Mabkhout confirmed that "these are all three areas that have represented my interests for decades. What I have been in could read his native language from him When I published my translation, I did not come up with any prize, nor the accumulation of experience to win prizes, my translations were part of my desire to contribute to the transfer of modern critical and linguistic knowledge to it Arabic literary Diem for over thirty years and has also been linked to see some of the texts studied and translated it is not planned, but is the result of the accumulation of experience.The writing in children's literature does not go out for my interest, because the issue of "Taliani" narrative art and the writer. "
He said: As you can see there are interconnected things that make me want to say one thing in letters that look different but are integrated, but the story of the awards is different. Coincidence plays a role in this, such as choosing a topic that fits my previously written blog or appoints this institution or me (a publisher or an academic institution). I don't write as I might want for the prizes, otherwise I could make a recipe for those who want to bring me more money than prizes. But I have a small part of my name and my constant effort is the largest part. In all cases, prizes are especially important if they are respectful and thank goodness that what you have received from them is respected and has high credibility, but is a result and has never been a goal.
In response to a question about redesigning the map of the Center and the parties in the Arab cultural scene through prizes such as the King Abdullah Prize for Translation and the King Faisal Prize, both in Riyadh and the Poker Prize in Abu Dhabi, the great poet:. The Egyptian culture was actually a precursor and we all learned from her adult book and we recognized it as a leader. Today, however, many modern elites have been formed in all Arab countries due to the development of education in the Arab countries and the many demographic, economic and social aspects. It is a natural development that nurtured new trends in Arab culture.
"The problem is not linked to status and margin, we are all margins of other major global cultures, we need to look at the problem from the point of view of integration and interaction. Take the philosophical studies and discover what the Tunisians and Moroccans have made very far today written about what has been written in the East on the basis of historical and intellectual factors, ranging from the decline there and expansion there, but the gains of the entire Arab culture.
Shukri Al-Mabkhout concluded with the words: "Take the distinction of many texts in Saudi Arabia since the last two decades. It does not cancel the earlier works of excellence in Egypt, Iraq or Syria, nor the flow in Lebanon, the Maghreb or Sudan, but it enriches the blog of the Arabic novel with local characteristics and important experiences The Arabic novel and its social, cultural and cultural diversity are intertwined in multiple formats.Take the cultural institutions that we in the United Arab Emirates, Kuwait or Bahrain and discover that they interact indiscriminately with Arab creators of all levels, and in this service to Arab culture it is great, so the multitude of centers and the interaction between them is a sign that Arab culture develops despite the pessimistic view that sees no differences, strata and transformations
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