بيت لحم بيت جالا بيت لحم . صور كارول صنصور . سيارات سيارات سيارات

مدخل
إشارة مرور
ملصقات
جدار فصل
قصر جاسر
ملحمة امل
مخيم عزة
خبز
زبالة أمم متحدة لتشغيل لاجئين
شارع جديد
حجارة بناء
حصمة، رمل، جرافة
جرافيتي
سيارات سيارات سيارات
مطاعم مطاعم مطاعم
رهبان دير
حراس مهد
بوليس سياحي
عنف
أمن
قصر رىاسة
بنك
شمس
ليمون
بيت 

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ما تزيدوش تْحَوْسُوا على قلبي، كْلاوَه الهْوَايشْ: صلاح باديس يودّع ٢٠١٤

صحيفة ديسمبر

قبل أيام ترجمت بيتًا من قصيدة لبودلير، ترجمته الى الدارجة الجزائرية، البيت يقول: “لا تبحثوا عن قلبي بعد اليوم فقد أكلته الوحوش”. فصار: “ما تزيدوش تْحَوْسُوا على قلبي، كْلاوَه الهْوَايشْ”. بيت الشاعر “الشيطاني” والمحرّض على الرذيلة واستثارة الحواس، حسب ما ورد في حكم ضدّه لما نشر “أزهار الشّر” عام 1857، هذا البيت صار بالدارجة أقرب الى كلمات الراي، في فجاجتها وصراحتها وتأكيدها على الانا المجروحة ضدّ الكل.

في التاسع من ديسمبر 2014، يكون قد مرّ عام. انتظرت حتى ينتهي العام، حتى أدخل من جديد في حالة من الملل الخانق، لأفكّر – بجدية – أن كل ما فات كان محاكاة للمحاكاة…

الشتاء تأخر كعادته منذ أعوام، لذلك يمكنني القول أننا نحن من ولدنا بين بداية التسعينات والى ساعة قراءة هذه الصحيفة، نحن أبناء الصيف، أبناء الحرّ، أبناء الشمس الباردة… مظاهر الشتاء من ريح ومطر وغيم، حملت للحزانى والوحيدين مللا وألمًا. الاجساد الحزينة داخل طبقات من الالبسة تيبست، كمدفأة سوداء قديمة متآكلة بلا حطب ولا نار، ولا بيت يحضنها، عارية للشتاء والليل. فخّار فارغ بارد يطوف.

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Remembrance: Neither Eric Clapton nor Omm Kulthoum but Yassin al Tohami

Fes, 2006. By Youssef Rakha.

Fes, 2006. By Youssef Rakha.

When I was in my late teens, I surprised the gathering at an older writer’s house here in Cairo by insisting that we should play neither Eric Clapton nor Omm Kulthoum but Yassin al Tohami, the star munshid (or performer of devotional chanting, called inshad).

Not that I was aware of it at the time, but as an irreligious whippersnapper studying in England, it must have seemed strange for me to be interested in what is, roughly speaking, Islam’s liturgical music, which in the case of Sheikh Yassin, what is more, relies on grass roots Upper Egyptian melodies.

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He Threw Himself into the Sea: Immigration as Song-Forgetting in Abu Bakr Khaal’s African Titanics

The Sultan’s Seal reviews one of Darf Publishers’ recent titles: the Eritrean writer Abu Bakr Khaal’s African Titanics, translated from the original Arabic by Charis Bredin

Photo by Alex Majoli, source: magnum photos.com

I immediately began to suss out the reputations of all the local smugglers, remaining in a state of anxious indecision as to which of them I should do business with. There was ‘Fatty’, known for his reliability and the care he took of those who travelled aboard his Titanics. His reputation extended all over Africa and travellers from Eritrea, Sudan, Somalia, Ghana and Liberia would hunt him down as soon as they arrived in [Tripoli]. Other smugglers were known for how swiftly they could arrange crossings. Every week, one of their Titanics would leave for the far shore, completely devoid of safety precautions, and likely to sink a few miles out to sea.

Like Samuel Shimon (An Iraqi in Paris, 2005), and Hamdi Abu Golayyel (A Dog with No Tail, 2009), Abu Bakr Khaal writes reportage with fictional license. Though a Tigré-speaking Eritrean with no apparent connection to the Arab literary scene, he belongs in a recent Arabic tradition of confessional narrative that benefits as much from its authors’ down-and-out credentials as their distinct vernaculars. Whether Khaal’s language is interesting because of influence from his mother tongue, I don’t know.

In Charis Bredin’s decidedly British English, African Titanics is a breezy read, worthwhile for its first-hand take on an essential topic and its pseudo-mythology of pan-African wanderlust.

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Sujith Nambiar: Mumbai-Doha-Mumbai

A user experience/product designer by trade, I am a self-taught contemporary Indian artist and photographer, actively seeking multi-dimensional conditions and emotions through my photographs. Initially photography was a newfound medium into which to channel my creative energy alongside painting. I have been engaged in street photography since 2013, capturing moments from the streets without any predefined purpose or set agenda.

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Summer Dawn: Nourhan Tewfik’s Pictures of Southern Spain

The distant hills appear with their smooth reptilian undulations.

The infinitely crystalline transparencies reveal themselves in dim splendor. The shadows hold night in their tangles, and the city begins to shed its idle veils, rendering visible its cupolas and its ancient towers illuminated by a soft golden light.

The houses reveal faces with empty eyes among the verdure, and the grasses, poppies and vines dance entertainingly to the sound of the breeze from the sun.

The shadows are lifting and vanishing languidly, while in the air there is a piping of ocarinas and reed-flutes produced by the birds.

In the distance there are confusions of mist and heliotrope among the poplar groves, and now and then, in the dawn freshness, is heard a distant bleating in the key of F.

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أهداب: ناهد نصر

From the series "House Secrets" by Youssef Rakha

From the series “House Secrets” by Youssef Rakha

ليديك أسلوب

يشبه عازف بيانو

يلوح ذراعيه مستعرضاً

قبل أن تضرب أنامله العاج بقسوة خبيرة

تشد أهدابي

حتى احمرار العينين

وحتى الدموع

بينما شفتاك ترسمان ابتسامة حانية

وكأن لا شئ يدعو للألم

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