The latest mumanah (anti-Western alliance of "leftist"-Baathist-Hezbollah supporters) media has been on a new mission: to redeem the bankrupt argument of its masters by exploiting a terrorist moment and sabotaging a counter argument to the rise of radical Islamists in Syria. This new “operation” does not challenge or poke holes in the pro-Syrian revolution argument. Rather, it inundates the media battlefield with a cacophony of feeble-minded voices explaining how the Charlie Hebdo attacks took place only for the purpose of muddling the field of criticisms of the French government.
Essays and Features
Every time I watch the images from Aleppo or hear the news that the poor suburbs of the city have again been the targets for Assad's bombs, I recall the mumanah or "leftist" diatribe of their championship of the downtrodden and the impoverished, the students, workers and peasants whose interests the Assad regime claims to have at heart. Never mind the fact that we haven't heard the word "socialism" uttered by the Syrian regime for almost three years, and that we do not expect to hear it from the Assad junta in the foreseeable future.
"Come, Salem. Come quickly.”
“Oh… What happened?”
“Mom has fallen ill.”
“She’s in the hospital.”
“She’s had a stroke. Her right side is paralyzed. She’s babbling: life… knife… fingers... No one understands. We don’t know what to do. Everyone is waiting for you.”
“Ok, Sis. I’ll be on my way.”
Literature can be a useful tool for confronting tragedies of the past. In their newest plays, Algerian playwright Slimane Benaissa and Lebanese playwright Wajdi Mouawad examine the trauma inflicted by the violent upheavals in their respective countries, exploring ideas of collective memory and rebuilding a society that has imploded.
Fouad Hamira, who began as an employee in the National Theater, has gone on to become one of the leading voices in Syrian television drama. He is renowned for his unwillingness to compromise with the forces of societal and political oppression. His controversial “Ghazlan fi Ghabat al-Dhi‘ab” (Gazelles in a Forest of Wolves), which was filled with a poignant critique of corruption and the abusive nature of power, was finally allowed to air in 2006, although he had written the miniseries 15 years earlier.
Born in Latakia in 1965, Nidal Seijari went on to graduate from al-Mahad al-‘Ali li-l-Funun al-Mesrahiyya (Higher College of Theater of Arts)and become a member of the Artist’s Union in 1991. Seijari was well known as an actor, film director, and art consultant in Syrian television drama. One of the most sha‘bi (popular)and beloved Syrian actors of all time, he fought throat cancer courageously for a number of years. He passed away on July 6, 2013, at the age of 48.
Celebrated Palestinian poet Mahmoud Darwish has served as a symbol of the Palestinian struggle and a model of near perfection among contemporary Arab poets for several decades. After constant harassment, including imprisonment by Israeli authorities, Darwish had to leave his homeland in 1971, moving from one country to another in the Arab world and abroad. Throughout his many moves, Darwish increased his readership and became known as a herald of “resistance poetry” or shi’r al-muqawamah.