Syria Strips Away Symbols of the Old Regime to Reveal the Layers of Hell Beneath Damascus
By Elie Chalala
Syrian novelist Samar Yazbek recently returned to Syria and has written and given interviews on exile, displacement, fear, alienation, and the devastation of war. Having lived in displacement for nearly a decade, the thought of returning frequently occupied her mind. Her essay, “In Damascus, a Steep Road Leads to Hell,”* published in the New Arab newspaper, covers her experience as a returnee.
Suppose we must encapsulate the essence of Abeer Dagher Esber’s message for Syrians to remember, now and in the future. In that case, it should be the words she leaves at the end of her essay in Al Modon newspaper: “Our detention centers and the shame they represent — something we hope never to endure again — are woven into the fabric of our souls and cities, the stains on our brows that generations strive to erase and forgive. Our detention centers reflect a complex relationship with a collective memory we hesitate to confront, fearing we might be accused of mere rhetoric and shedding sentimental tears in unfamiliar cities.”
Since the downfall of the Assad regime, Syria’s preeminent painter, Youssef Abdelki, has remained active in both the artistic and political spheres. Maen al-Bayyari honors the artist’s impactful contributions, calling for his recognition from the creative community in his essay, “Youssef Abdelki’s Obedient Tears,”* published in The New Arab. Bayyari’s article is not a biographical profile of Abdelki, but rather an effort to move past the “long night” and recognize the artist’s contributions and sacrifices for Syria’s struggle for freedom, both before and after the 2011 Revolution. He states, "It is natural that no tribute will be held for him in his country during that long night; I believe it is essential to organize a significant celebration for him, as freedom has remained a central theme in many of his works, sculptures, paintings, and graphics." This recommendation genuinely deserves attention.
Since the fall of the Assad regime, Syrians have been discussing the kind of future government they desire. These discussions have occurred on Facebook and at conferences inside and outside Syria. The 14-year war has intensified these debates, and the identity of the new power in Syria, Hayat Tahrir al-Sham (HTS), led by Ahmed al-Sharaa, has further influenced them. This formerly extremist Islamic group has recently moderated its positions and become more open to various political perspectives. However, the latest development has raised skepticism: the new government has adopted a temporary declaration of constitutional law as its legal foundation, asserting that Islam should be the source of legislation and the president's faith. This has intensified the heated debates surrounding the new state's stance on Islam.
Syrian Poet Rasha Omran Examines the Dilemma Facing Displaced Syrians
By Elie Chalala
“Will the Syrians return?” remains a loaded question as Syria takes its first steps on the long road to recovery after half a century under tyranny. Syrian author and poet Rasha Omran poses that very question in the title of her article, “Will the Syrians Return?” published in Arabic in Diffah 3. Her story resonates with many Syrians who left the country, but rather than focus on why many chose to leave, Omran touches on the delicate issues faced by those considering returning from displacement once conditions allow.
A reader may wonder why I am so captivated by prison literature. Personally and professionally, I have had to address this valid question with deep conviction, as it lies at the heart of Middle Eastern and Arab studies. Yet, I find it challenging to offer a concise answer for several reasons. One stems from my doctoral research on Syrian politics, where the themes of prisons and prisoners featured prominently.
What occurred on March 6 off the Syrian coast has long been anticipated following the downfall of the Assad regime. However, it unfolded several weeks later. The accurate prediction of violence on the Syrian coast did not require exceptional foresight but was tragically Pavlovian. The defeat of Assad's forces, primarily supported by the Alawites, at the hands of Hayat Tahrir al-Sham (HTS), a Sunni Muslim-dominated group, had set the conditions for a sectarian conflict. "Syria: Fear vs.
Narratives are powerful forces. When Syrians wake up after each conflict to proclaim or revive a narrative, they are, as Fadwa Abboud argues in her article "The War of Syrian Narratives" (published in Al Modon newspaper), "continuing their wars by other means." Abboud contends that Syrians are both victims and architects of the stories they tell about themselves. These narratives often evolve into tales of victimhood, shaping political and cultural growth through socialization.
Syrian blogger Mayada Tishori illustrates the challenges Arab women face regarding their personal and political rights in a compelling essay, “My Country Was Liberated… and Now It’s My Turn,” written in Arabic for the online Lebanese newspaper Al Modon.
Lebanon stands on the precipice of change with its election of a president independent of the corrupt old elite and the nomination of a reformist prime minister-designate. These tides of change usher in a new wave of enthusiasm and even optimistic euphoria among some, as expressed by many intellectuals, both Lebanese and Arab. The Algerian novelist Amin Zaoui stands out among some of these optimistic intellectuals, recalling Beirut’s ‘golden years’ of the 1950s, 1960s, and part of the 1970s.
Lebanon has recently elected a president, and the immediate response might be, “So what?” On top of this, the parliament also chose its prime minister-designate. The difference between the level of news from Syria last month and Lebanon this month sounds almost incomparable. At least regarding Syria, the fact that Bashar al-Assad is no longer the country's leader while the incumbent has not yet been elected still maintains an element of surprise for the future.
Yara Nahle, a Lebanese writer, begins her blog with the image of the ‘angel of history,’ described by the German philosopher Walter Benjamin (1892-1940) as a figure who “sees only one catastrophe, a pile of rubble before his feet." For Benjamin, history is not a continuous progression toward the future but a pile of ruins accumulated by wars, conflicts, and disasters.
"Ruins" has more meaning for Benjamin than its literal definition, which combines rubb