Morocco's Abdulkader Al Shawi Writes a Story for Himself

Morocco's Abdulkader Al Shawi Writes a Story for Himself
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Morocco's Abdulkader Al Shawi Writes a Story for Himself

Morocco's Abdulkader Al Shawi Writes a Story for Himself

Le Fennec Publications has released a new book by Moroccan writer Abdulkader Al Shawi. The book is, as described by the writer, a self-visualization entitled “Al Tayhaa.”

On the book's back cover, Al Shawi wrote: “My guide in this book is clear. I mean I wrote it without planning or organization. There weren't any precedencies that made me chose. My incentives are so foggy. I know that the reader won't blame me if I told him that I wrote this story to myself to narrate its writing isolation. Therefore, in the final pages, I found myself totally convinced with what I wrote in the first pages – with the introduction I didn't write. The conclusion of this conviction is, and I am quoting Manuel Alberca here: ‘This is me, and not me. I resemble to myself but I am not me. But, be careful, because I might be me.’”

Commenting on the book, critic and translator Ibrahim Al Khatib noted that it is not a narrative or critical text, or a political analysis, but a “recurrence of a writing record recalling past memories, approaching the lives of some writers and examining their ups and downs, along with exploring the backgrounds of many positions and meetings. It also investigates the contexts of some of the writer's published books, or looks into the emotional resonance of various trips he had embarked on.”

“The book features a foreword, which, according to the writer, is not an introduction. But it reviews the background of writing about the past, in which the writer wonders about the connection between writing and lying and honesty, and its association with the time of writing, which is now,” added Al Khatib.

“The book features independent paragraphs with no titles or punctuations that separate their spaces. Their order is not chronological, as indicated by the dispersed dates and the non-organization of the narrated facts.”

Al Khatib noticed that the book, with its diverse material, is a “back and forth trip in the life of Abdulkader Al Shawi and its major events, that extend from his childhood in Bab Taza, his education in Tétouan then in Rabat, before starting his career in Casablanca, his pursuit of politics and writing.” It also takes “a look at the writer's relationships record, and the list of his friendships known for their geographical richness, whether in Morocco or abroad.” The book can be described as a “sequel or a narrative addition to his memories and readings.”

Al Shawi was jailed for 15 years, between 1974 and 1989, because of his political activity, before serving as the Moroccan ambassador to Chile. He wrote and published his first poetic texts, stories and literary articles in Moroccan and Arabic magazines and newspapers in 1968. Then, he published many works about literary and intellectual studies, in addition to many narrative works he debuted in 1986 with “Kan wa Akhawataha,” followed by “Dalil Al Onfowan” (1989), “Bab Taza” (1994), “Al Saha al Sharafiya” (1999), “Dalil al Mada” (2003), “Man Qal Ana” (2006), “Boustan al Sayida” (2018) and “Marabe' al Salwan” (2020).



Amsterdam Honors its Own Golden Age Sculpture Master

Quellinus has been described as the Bernini of the North. Ramon van Flymen / ANP/AFP
Quellinus has been described as the Bernini of the North. Ramon van Flymen / ANP/AFP
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Amsterdam Honors its Own Golden Age Sculpture Master

Quellinus has been described as the Bernini of the North. Ramon van Flymen / ANP/AFP
Quellinus has been described as the Bernini of the North. Ramon van Flymen / ANP/AFP

Imposing but delicate marble sculptures of Graeco-Roman-style figures grace the vaulted corridors of a huge palace. But this isn't Florence or Rome. This is Amsterdam.

As part of celebrations to mark 750 years since the founding of the Dutch capital, the city is unveiling from Wednesday an exhibition dedicated to Artus Quellinus, the 17th century "sculptor of Amsterdam."

Virtually unknown outside Flanders in present-day Belgium where he made his name, the city has Quellinus to thank for the decorations on the Royal Palace that dominates the city's iconic Dam Square.

Quellinus "lifted our sculpture to a new level" with a fresh style, Dutch art historian Bieke van der Mark told AFP.

Born in Antwerp in 1606, Quellinus sculpted with marble, as well as ivory and clay.

His style, heavily influenced by Flemish baroque painter Reubens, was a complete novelty for the Protestant Netherlands, used to a more sober style at the time.

His subjects -- mythological figures, chubby angels, and animals -- are perhaps a nod to the great masters he would have seen while an apprentice in Rome.

"Like (17th century Italian master Gian Lorenzo) Bernini, he masters the way the flesh looks, and hands," said Van der Mark.

"It's really fantastic," said the 46-year-old, pointing to a statue of the Saturn devouring his son, whom he holds in his huge veiny hands.

Organized by the Amsterdam Royal Palace and the Rijksmuseum, this is the first-ever retrospective devoted to Quellinus, displaying more than 100 of his works from national and international collections.

"We spent quite some time to select and to collect, to bring together all these very special works... to show Quellinus at his best," said curator Liesbeth van Noortwijk.

"Because I think he's an artist that deserves that."

"We dare to call him the Bernini of the North... And I think this is no exaggeration," she told AFP.

The decorations of Amsterdam's Royal Palace, built as a town hall between 1648 and 1665, remains Quellinus's statement work, with an iconic figure on the roof of Atlas bearing the world on his shoulders.

Now, nearly 400 years on, the city hopes the show will raise awareness of the hitherto unrecognized "sculptor of Amsterdam."