We commend the songs that we have

"The Song of Songs for us (the Arab Cultural Center) is the third book of Azmi Bishara, in which he distanced himself from the theory and analysis of politics, society and philosophy. Preceded by "the barrier" and "love in the shadow region". As the first two books appear to be a strong foundation for an intensive narrative that evokes politics in its existential and existential sense, but does not give in to it, the book of Bishara III, "The Song of Songs for Us," evokes the language of the place, the language of the person and the language of the statement. And people.
This text frightens me a little, as a Palestinian, because it is full of fatigue and fever (the word "tired" is repeated 12 times in the text), searching for reclining in a time when it is not reclining. And frightens me as a reader because it imposes an unusual text, not by its techniques or by its objectives or content. It is the kind of text you can love a lot or move away from.

The songs of Solomon are probably written, although some interpretations tend to suggest that these verses of love were written about him or him, and were gathered over time, and this makes the date of their status before the Babylonian captivity a little. There are many explanations about the fact that the songs of Solomon are a failed love story by Solomon for a woman whose lover was a shepherd, who was abducted by Sulaiman for himself and the beloved fled. However, the beloved wife refused to give up her love. In the end, Solomon gives in to this great love and leaves it to her lover.

The songs of Solomon were written as "sensual" love songs, in our Arabic term, the term "Supaki", which explicitly uses expression, especially in the number and spacing of female body organs. It is a text of nostalgia and a curse. At this point, the old text resembles the text of the new gospel. Bishara longs for "Palestine," rather a Palestinian situation, a beloved country and a beloved homeland. It is not a "sensual" passage, as one might expect, a frenzied spinning of what should have been, for all the moments that did not come from us or from the "other", and those that were absent or about to be absent: "The Qibla closes my mouth and my eye / I will be able to leave the distance between us / after the border is lost ... »( Chapter 1).

Some of them try to go further and deal with the songs of Solomon as a mystical text similar to the Islamic texts, that is to say that the adored lover here is God or the divine self that the lover seeks to ditch, like the poems of Ibn Arabi and Raba'a al-Adawiyah and others. In this context, the songs of Bishara can be painted in this capacity as well. The beloved lover, the subject of longing and longing, is a symbol of what is bigger and farther; a symbol of the desire to dangle and mingle with a larger one, with a more welcome and meaningful being.
"The Song of Songs for Us" is a deeply rooted Palestinian text, in which the word Palestine is repeated four times, and the names of cities and places in historic Palestine. In the sense that the writer does not fear the "local" text, but ridicules in the service of the idea and the situation and image.

The writer does not consider his poetry to be too much, but rather a rhythmic text. But the obligation to define the author of his text is more effective and judicious, because the book is crammed into a technical poetic box, will refer to comparisons to get to the question Astashali combatant: Is this hair? The text is written in romantic form, or suppressed, won in the end despite the writer's fear. A system because it does not send in its presence, which may turn into a heavy and miserable quickly, the writer is more sophisticated than this. He looks at the romance, the romance of parting, the earth, the sweetness, the smells in his cheeks, but he does not stay to drink coffee with her, despite her great urgency. She is a hostess, this romantic, a housekeeper, but her son, her preparation, knows well when he takes her to bed to go to sleep, and wake up consciousness and criticism again.

The textual approach here approximates some of the writings of Ansi al-Hajj, mainly the group of "rings", in some of its texts and not in all of them, of course. But the beautiful fine line between the texts of "Rings" (the collection published in 1991) and the text here refers to a cross-textual aesthetic, but private at the same time.

This is a new writing (especially for the Arabic writer and writer in general) and as such, it oppresses its owner; it needs to ferment and ferment. The text is neither narrative nor "situational". It is in the middle, and this medium is not compatible with the clarity and elegance that he presents in terms of experience and content. This is the text of the verse, but the reciter gives it some elongation and sometimes some sagging (stemming from the inevitability of meditation). These sites are not multiple in text, but they stand out strongly against the background of other advantages.

In her deep existential presence, in the choice of words and the construction of news stories sometimes and analytical stages and singing sometimes. It is the personal calamity that is meant to turn into a public calamity, the public calamity (the absence of Palestine, the absence of the homeland, the absence of meaning).

Bishara wrote the anthem "Who is ours". A: He, she and I. These are all of us, and the narrator and his identity and gender (in some chapters) do not spoil the narrative, but enrich it. Mobility from Rao to Rao is primarily democratic. How do? The author simply tells you: I will not control the narrative, I will not feed you my body one novel and one point of view, but I will tell you more than a story, on more than one tongue. He tells, she tells and I tell. This is our story, read it as you like, but do not forget that it is the novel «us», looking for small things intimate to say all that can be said about the big things:
"He did not seek a revolution for me / but a monotonous palpitations of the heart / of the harmony of the soul with things / even if he / she was in a state of love." (V. 5).

Alaa Hlehel