Atef Khaled’s Photos with “The Tower Mirage” by Yasser Abellatif

 

 

She lives on the twelfth floor

where there lives too

her wise fleet fingers

her grey hair

her sixty years.

 

The tower has six lifts

three to the right of the lobby

and marble like ivory

gleaming damply

with daylight dwindling

till shadows swallow

stealing footfalls

and three lifts to the left.

 

In wait are doormen.

He makes before them

a veil, a veil

behind them

and slips within

with all of twenty-eight years.

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Mahmoud Almunirawi: Nine Images from an Ongoing Project

So. Avelaval. My leaves have drifted from me. All. But one clings still. I’ll bear it on me. To remind me of. Lff! So soft this morning, ours. Yes. Carry me along, taddy, like you done through the toy fair! If I seen him bearing down on me now under whitespread wings like he’d come from Arkangels, I sink I’d die down over his feet, humbly dumbly, only to washup. Yes, tid. There’s where. First. We pass through grass behush the bush to. Whish! A gull. Gulls. Far calls. Coming, far! End here. Us then. Finn, again! Take. Bussoftlhee, mememormee! Till thousendsthee. Lps. The keys to. Given! A way a lone a last a loved a long the—riverrun, past Eve and Adam’s, from swerve of shore to bend of bay, brings us by a commodius vicus of recirculation back to Howth Castle and Environs.

Text from Finnegans Wake by James Joyce

Youssef Rakha: Revolution’s Residue

I had my camera when I went out to demonstrate on Friday, January 28, the climax of the Egyptian revolution (January 25-February 11, 2011). I was on the streets for over twelve hours but I took only two pictures; they were to sit for years on my hard drive, unedited and undisplayed: my only trophies from the revolution. Unlike the majority of “Arab Spring revolutionaries”, from the moment Tahrir Square was occupied in the small hours of Saturday, January 29 and until the long-time president Hosni Mubarak stepped down, I felt that I couldn’t photograph and protest at the same time, that to be photographing would render my presence in the protests insincere and that the protests were about more important things than photography.

At the same time the figures and the faces that I saw daily in and around the protests, and which belonged to both “revolutionaries” and “counterrevolutionaries”, imprinted themselves on my mind more forcefully than ever before: sullen and despairing men, slim women in high heels and children everywhere.

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Mahmoud Almunirawi: A Psychological Epidemic

By Mahmoud Al Manyarawi

I think I must be crazy, or have a short circuit in my brain; it feels like I can’t think in a right way, a way that guarantees any other destination in this life.

Taking decisions – any decisions – is a serious crisis in my life, so it feels like I’m paddling. I’ve tried, at least I think I’ve tried to edit my position, to lie down on my comfortable side, but where can one find a side in dimensionlessness? Failure echoes in the present and makes me tap deeper into my fragility. A psychological epidemic destroys my imaginary pictures of my self.

What can one do more than go on trying to live, though, since living is an involuntary daily activity that routinely robs us of our will to choose.

So I wake up every day carrying this box of contradictions about and trying as much as I possibly can to organize the mess. But I fail. A daily failure that reminds me of the greater failure of our existence. So I sleep on it, only to ironically try again when I wake up as if I didn’t yesterday.

I know I don’t have anything new to say, but repeating what can be repeated is the only way to emphasize nothing.

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Fatima Berro’s Beirut | البحر بعيد: بيروت فاطمة برّو

 

لا تُحدَّد النهايات ببطء. ولا تُقاس بحجم العمر

البحر بعيد ولا مجال للسباحة في كوب غاز

هذه المواد تخرّ أمامي فأستعملُها

 

استمر في القراءة

Fabrizio Nacciareti: The Dark Side

Fabrizio Nacciareti, born in Rome in 1981, graduated from the Higher Institute of Photography and Integrated Communication there. His early work involved travel and geographic reportage. Later he pursued social photography, looking for stories and figures out of the collective imaginary. In 2009 he joined”OnOff Picture”, an Italian agency of photojournalism and reportage. He has since collaborated with the most important Italian and international magazines. He is currently a freelance photographer, based in Rome.

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