The poetic nature of the details in “The Old Man from Uskudar”…
Literary texts in all their forms and genres are considered a vessel that carries many ideologies and epistemological connotations, and all of them were created in the light of social and historical conditions or perhaps in the light of cultural characteristics that distinguish their author as an individual or a collective subject, in addition these texts give their readers and critics the opportunity to interpret and reconsider through many angles that reflect different viewpoints that can misrepresent the truth of the text.
The writer wants to convey his experience and what is happening in his thoughts about what is happening in the vast universe, in his society, and even in his immediate environment with his texts and the words he directs to others. in a human being, not only that, but the writer harnessed all his linguistic abilities and his film directorial experience to show the struggle that man leads with his existential questions, those anxious questions that pose the places, times and events in which he lives, and which they all unite, encouraging him to search for Answers that give importance and meaning to his being and existence.
The story revolves around a director who goes to the land of the Turks in search of a story that deserves to be told, and instead of looking for the desired story, he finds himself creating it. The writer is the director in person until he reaches the deepest point in him, and he does not overlook no internal or external detail that surrounds him, so that through the pages of a little more than a hundred, we find a huge amount of detail that stretches between the two covers of his novel, as human Being is the axis and center in Abu Saleh’s novel, and the reader of that work Uniquely literary, he will notice the scarcity of events, and he will notice that there is almost no external dialogue, and that there is a clear intensification. soliloquy, and a poetic language that created details that invaded the text and tightened it, but it is not one that creates boredom, and is not intended to fill the pages and cram them until the event .. New, but the goal is to deepen the image in the reader’s mind, and to enable him to take a closer look, and even those details that deliberately lured him to the end.
This was also helped by the rhetorical language imbued with the poetics with which it was formulated, so we believe that the writer possesses language at a high level, and a high skill in connecting words and conveying them smoothly, so that you feel as if you are in front of a prose poem of a mystical soul, because the mystical atmosphere looms over the spirit of the novel as a whole, and we sense it through the visions of the hero of the story and some ambiguous phrases, in addition to the hero’s association with the flute instrument, of course also the description and words, and it seems that the writer could not more tightly control the flowing poetry when writing a prose work, so they some Sufi verses slipped out that increased the beauty Text and paper:
And I seem to mention the one I like and I… The male turns away from me as I turn
Imagination runs away on a raft… and enlightened discoveries spill out
Doesn’t the wanderer know that my head is… madam, and the cups are moving in it
On the quest with which my yard is spilled… A yard that neither facilitates nor harms
It also reveals to us details and beautiful language about a person who is searching for himself and how his struggle with what is happening around him unfolds, because it is not possible for a person, regardless of cultural and intellectual background, to live in isolation from the events of the world and the universe, rather, he is involved in them to a large extent, so how if He takes upon himself the responsibility of revealing and conveying reality, as if he were a director, because For example, just as the hero of the story is haunted by an obsession with alienation, so is he, despite moving from the other side of the planet, a Palestinian who he has a problem that remains present in him, and manifests in him to a full extent even in crowds of people. Istanbul is full of people who come from all over the world, and the Arab self still laments in his own language whenever he stands in front of the Bosphorus:
And the more piles of houses piled up on their owners, the more clouds of smoke rose mixed with the cries of children and the souls of those who climbed up, these clouds that filled the sky of Syria crossed into Anatolia, creeping over the last border of the dictator.
Although our friend, the director, sat on the throne of narrative heroism, he tried to escape from that heroic role, crowning him the eccentric old Uskudar, so he did not stop observing him and seizing the opportunity to talk to him and weave stories about him, but went further from that connecting everything he encountered with it. An old man who is seduced by his silence and the picture he found in his pocket.
However, there is a hidden similarity between the old man and the hero’s personality. The old man awakens the director’s curious imagination with his calm and dignified details, and on the other hand, the hero’s chaotic details arouse the reader’s curiosity. Besides, the old man is nothing more than a scene that everyone can interpret in his night, and the hero at the same time is nothing more than a heap teeming with scenes that are packed to the point of madness, and stories can be woven about them, everyone according to what he sees. If events existed and filled the pages of a book, we would not be able to see the personality of each one with such great clarity, and the reader’s imagination would not be diverted to what could turn into a wheel of a circle that begins and ends as it once did. It is, but the matter is quite different in the old woman’s novel, because it is the closest to a cinematographic film in which silence swallows two-thirds of it, and the camera lens leaves the narration of events.