“Reading in the text of the eminent Tunisian writer Taher Meshi…” The darkness of the sunset has its silence

duration/ The moments of sunset take me in my steps, at each sunset…for these distant neighborhoods..

There, where we met long ago, and among the spreading sun, my desire fades, my moans threaten me, the pain of my wound intensifies, the sun hides me and robs me of this nostalgia , and the past grows harder in my imagination , it is a darkness that now languishes on the thresholds of my patience, my soul swims long, and it repeats itself My night is for the starting point, and without permission my rabbis sink , and my pen writes my poems, the perfume of your the kindness of eternity, and I am always between you and my cruel night, I call for deliverance from my illusions, and I travel the hardest to seek you in second place. (Taher Mashi)

The creative text asks its questions, opens on the details of astonishment, while the text penetrates the memory, and combines the dream and the absence in a scene in the form of a painting where magic, meaning and celebration penetrate as well as nostalgia and nostalgia..

This prose panel (the darkness of the sunset..has its silence) opens the windows of the young writer-Dr-Taher walking on secret spaces that close the vision of the writer to the reading of the symbol, the dream, of love and wandering among intense linguistic structures in which the (text) sometimes appears as anxious units..it empties its saturated worlds Dreaming and expanding…or between lyrical delusions, in which the writer seeks to internalize the linguistic interior saturated with a selective narration, trying to penetrate from this to another space, in which he refers the text to a descriptive/visionary relationship..which mixes the magnitude of the dream ..and longing for a beloved Fragmentation between the ribs.. and limited language..

In his prose text (the darkness of the setting sun..) he represents this anxious attempt based on a space of meditation and emotion in language and meaning.. and the temptations of dream and desire, where he deceives with emotion following a language that emerges from the holes of a troubled and tired memory, loaded with disappointments and pains, to write an opening. The vision of dreams, love and nostalgia.. which holds the secret of the word and of innocence..

The writer’s effort to trace the topography of the text is to try to stop the movement of his time in prose by trying to extrapolate his dream and his nostalgia, in a vision that covers the revelations, and constitutes a counter-communication about his aborted time immersed in love and the search for universal meaning through a problematic awareness that can reveal the essence of this time with everything he wears. Agitation and absence… and nostalgia…

It is raw time..angst..it digs deep behind the unwarranted heart.Sometimes the writer envisions the idea of ​​the essential/poetic legislator on the possibilities of interpretation and bases on (whispering, fumbling and feeling ).Poetry is a necessity, as Jean Cocteau says when evoking a dream, a vision and a celebration.

It is love, but rather desire. Surprise and strangeness establish rituals that convey the language to a gelatinous celebration that sometimes penetrates through memory frightened by devastation and chaos and the mad lover’s rebellion against outmoded tribal rituals.

The text “Darkness of Sunset” doesn’t go far in trying to lend the text details that satisfy the male desire for selective storytelling. Its details are sought by the brilliant writer – Taher Meshi – through a network of linguistic/graphic relations that internalizes (meaning) pre-existing, where he enters The woman is double ribs.. and the heart is covered.. and the dates of the laws eroticisms in a woman’s consciousness were exhausted by stormy desire.. for the writer to go on at that time, her rebellion fell upon a time mined with amazement, strangeness and virginal love, which was consumed by savage capitalism at a time when we were losing the way to love in its noble sense.

It is the time of the (external) in which he is defeated. He tries, through his blatant love, to clutter the vision with details that make the prose text a celebration, either delighting the writer or hurting him to the brink of failure…

In order to formulate his space of creation in the face of this carried away and stormy nostalgia, the writer begins to reveal structures in which fast-cut images merge with other pictorial spaces. the text with an intention of abstraction and blindness..and these pictorial structures that make up the space of the text are justified to some extent.The writer’s awareness of modern text structure..the text is open to the possibility and in the sense in which the vision reveals superimposed worlds taken by digression as a linguistic form and by generation as a structural problem. fear the voids of the text… and its whiteness… Its creative expressions.

The creative climate – in which the writings of Dr. Taher Mashi germinated – is characterized as a whole by the creative interaction with the modernist side, and this is what gave his writings (and this opinion concerns me) a setting very familiar day, through its imaginative language has formed an organic formation that has contributed to creating an artistic equivalent that plays The self has a preponderant role in the bases of its growth and thus transforms it into a formative unit that combines its formations infinitely precise with all that is incompatible and contradictory, as these opposites fulfill their function in realizing the geometric structure of the prose/creative image compatible with and opposing the rhythm of the movement of reality.

When this reality tries to impose a rational logic that contradicts the imaginary space of poetic language.

This linguistic structure, except in its primary or selective raw materials, extends not only to the modernist prose text, but also extends to the experiences that have been drawn from the prose poem (in which our writer also created) a container in which which covers process filters to which the same writer is exposed. -..

From there, the writings of the eminent Tunisian and Arab writer, Dr. Al-Taher Mashi, which arose from the shores of the majestic city of Sidi Bouzid and filled with an imposing creativity, represent another step towards the reading of the another text that has begun to form. its steps in the path of creative arabic text – prose.. story. Poetry..etc.. Today it stirs (the writings of the writer) with all its faculties, charms and anxiety to emerge into the wild immensity where the form catches the pleasure of the dream, and where the dream makes irruption into the paths of meaning..and- The writer establishes his rituals on the details of things..sleeping, revealing, or standing in the middle His fires and the fires of others, he seeks other things the color of embers or the color of women or the color of freedom.. and these amazing creations – which are close to some of them – do not go beyond his attempts – the pure writer walked in search of the structure of his modern text settled on the revelations of rhythm in a combination of marriage between form (shredding) and dreamy, ever-repeating narration as we have seen in – some of his wonderful poems – which we have shown previously.

“Amorous” writing remains disobedient… And the writer/poet/narrator is pure, walks, remains cruel, locked up and oppressed by the text, afflicting his body and his pains, and he travels with seduction in the midst of rhythms where everything falls apart. .You come out of a memory that writes the text as history..

It is the memory of the other that still resides in the middle of things, harsh and tyrannical…

This is perhaps another advantage to add to the creations of Dr. Taher Meshi, who sincerely and seriously seeks to move towards beauty, dreams, breadth and freedom.

To conclude:

Love appears as a poetic subject par excellence in its idea, its aesthetics, its stories and its history, even if it is a love story. Always with what is tragic (and perhaps our writer – Dr. Taher went through one of them), and these are few and fleeting, and even their poems are rare and few, because the idea of ​​love is linked to time, death, existence, and even madness (Qais bin Al-Malouh – Majnoun Laila – in Arabic emotional memory And some of the poets of love were killed by love, so they lived neither in life nor in writing.In the place, it is also associated with nostalgia “Abu Firas Al-Hamdani”, as well as heroism “Antarah Al-Absi”, and the idea of ​​love is also associated with separation or farewell “Moallaqa Al-Asha”.

Love in this sense is “life within life.” The life of the poet, his fate and his losses, which means that love is an “inspiration” in addition to being a human, heart and existential life experience.. the love that is not found in Wadi Abqar, the valley of the “inspiration” of the poets or the valley of the hair demons (a naive concept of inspiration).. On the contrary, he lives, touches, sees, dreams and aspires to this.

It is the love that comes unexpectedly, surprisingly and overwhelmingly.

And your meeting with your beloved, O Tahir, in the orchards of love remains an inevitable and indisputable affair.

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