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Critique Littéraire: Lecture du Temps, Interrogation de l’Espace par Abdelkébir Khatibi

Ouled Fassi et Ouled Cherkaoui

DESTIN DE COUSIN ÉTERNEL PARTAGÉ EN PHOTO ILLUSTRANT NOTRE MÉMOIRE TATOUÉE FAMILIALE COMMUNE

Hawmate Sfaa et Saniyate Berkaoui\

Quel destin de bon cœur et de relation maternelle survolant et encadrant la narration d’une existence a travers des symboles communs et des sentiments familiaux transparents dans l’identification et expressifs dans la traduction de nos esprits bienveillants et reconnaissants nos liens visibles aux yeux et visionnaire pour l’Âme malgré la distance et l’espace qui demeurent différents de / par notre présence passée et actuelle.

Les deux photos du Diffaa Hassani Jadidi utilisées dans cette vidéo proviennent de la collection de Said El Mansour Cherkaoui – Espace Athlétique de Said El Mansour Cherkaoui.

Je ne sais pas comment elles furent choisies ni qui les a choisi et pourquoi.

Cependant, je sens, je sais et je reconnais la raison spirituelle de leurs présences dans cette vidéo et je vous l’explique dans les lignes suivantes:

La photo encadrée avec en bas et soulignée par une couleur verte et signée en bas en bas cette abréviation – SELM C – c’est en fait ma signature résumant mon prénom et mon nom de famille: Said El Mansour Cherkaoui – est en fait aussi une preuve supplémentaire de cette liaison familiale entre les Khatibi et les Cherkaoui de Mazagan – El Jadida.

Cette photo fait partie de la collection, remise en valeur par Said El Mansour Cherkaoui Voir ici bas cette même photo du Diffaa Hassani Jadidi et la seconde dans le commentaire suivant:

De ce fait ce texte titré de cette manière traduit cette volonté divine de nouer dans le destin nos deux trajectoires dans le sens familiale et dans la direction de l’expression de nos pensées communes et spirituelles.

MÉMOIRE COUSINE TATOUÉE DE NOTRE FAMILLE DE MAZAGAN DÉSSINÉE PAR LE DESTIN DE L’HISTOIRE DE NOTRE PENSÉE EXPRIMÉE PAR LE PARTAGE DE NOTRE SENTIMENT MATERNEL COMMUN

– RAHMA WA GHOFRANE FI FIRDOUSSE NAIM AMEN

EXCELLENT TRAVAIL COUSIN Mourad EL Khatibi DE DIVULGATION DE L’OEUVRE GRANDIOSE DE ABDELKÉBIR KHATIBI – KEEP UP THE GOOD WORK

– RAHMA WA GHOFRANE FI FIRDOUSSE NAIM AMEN

EXCELLENT TRAVAIL COUSIN Mourad EL Khatibi DE DIVULGATION DE L’OEUVRE GRANDIOSE DE ABDELKÉBIR KHATIBI – KEEP UP THE GOOD WORK

• Said El Mansour Cherkaoui
• Espace Athlétique de Said El Mansour Cherkaoui
• MADE IN AFRICA
• DOUKKALA DÉ-COLLAGE
• Morocco – Maroc – Marruecos
• African Moroccan Diaspora

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Culture: L’oeuvre plurielle de Abdelkébir Khatibi exige une lecture plurielle

Questions à Assia Belhabib – Rédigé par Abdallah BENSMAÏN le Mercredi 21 Octobre 2020

L’Académie du Royaume a organisé un colloque international consacré à Abdelkébir Khatibi : « Abdelkébir Quels héritages ? ». Les voies de traverses étant multiples, quelles vous semblent les traces remarquables de l’héritage ou des héritages que constitue son oeuvre ?

Le colloque international organisé les 20, 21 et 22 mars 2019 en hommage au grand penseur marocain Abdelkébir Khatibi a été une opportunité riche à la fois pour revivre les grandes lignes de son parcours intellectuel, dix ans après sa mort, et surtout pour le présenter à la mémoire collective. Difficile d’en résumer en quelques mots les thèmes majeurs. Il ne s’agit pas de fossiliser une pensée encore agissante aujourd’hui. Les actes du colloque qui viennent de paraître permettent de retrouver l’esprit d’ouverture et d’engagement d’un écrivain au carrefour des civilisations et des disciplines tous azimuts. C’est précisément cette liberté que nous souhaitions explorer et reparcourir avec cette hospitalité intellectuelle qui lui était coutumière.

Un axe du colloque s’intitule « langue, fiction et critique littéraire ». Si la langue et la fiction sont des champs fertiles dans la pensée de Abdelkébir Khatibi, qu’en est-il de la critique littéraire, à proprement parler ? Quels textes, méthodologies ou concepts illustrent la démarche « critique littéraire » dans la pensée de Khatibi ?

Abdelkébir Khatibi a livré à la postérité une oeuvre poétique et exigeante qui n’autorise pas de s’enfermer dans un seul mode de décodage, ou plus communément de démarche critique. L’apport et l’originalité pour le commentateur est de le conduire à multiplier les lectures diverses avec les interrogations posées, avec nuance et pertinence de l’auteur. Dix ans après la disparition de cet écrivain hors-normes, le dialogue avec son oeuvre ne s’épuise pas, et c’est là une preuve incontestable de sa riche complexité. Écrivant en français et traduit dans plusieurs langues, il a pu toucher un public aussi large qu’éclectique. Car Abdelkébir Khatibi, c’est aussi l’homme d’un ensemble de disciplines et de divers genres littéraires. L’intellectuel romancier, poète et dramaturge est une figure de proue contemporaine dont la pensée est au coeur de notre modernité.

Critique littéraire ou critique d’art, esthétique littéraire ou esthétique picturale, l’oeuvre de Khatibi n’a pas laissé une oeuvre consacrée à la littérature mais au signe, à l’image avec l’étude de la calligraphie, les tatouages, le tapis et les peintures de Cherkaoui et Gharbaoui ? Comment expliquer ce glissement de la sociologie de l’oeuvre à laquelle semblait le prédestinait sa thèse à la sémiologie, proprement dite ?

Abdelkébir Khatibi doit son parcours intellectuel à son originalité. Toute son oeuvre plaide pour la curiosité intellectuelle qui pourfend les barricades élevées arbitrairement par les défenseurs de la séparation des disciplines. Il ne se considérait pas comme le spécialiste de tel ou tel domaine de recherche. Mais quand un événement ou une situation mobilisait son intérêt, il prenait le soin de s’y arrêter et d’écrire un livre sur le sujet sous forme d’essai ou de fiction. Les signes dans la cité sont multiples, palpables pour les plus attentifs et Khatibi était un observateur perspicace de ces signes qu’ils soient artistiques, sociologiques, poétiques ou autres. Il portait sur le monde un regard pertinent, sensible et lucide. Toujours à l’affût de nouvelles quêtes, ses pérégrinations invitent au partage car ce sont les intellectuels qui rendent possible le passage de l’action en oeuvre quelle que soit la nature de cette dernière. Seule l’oeuvre permet d’entretenir la mémoire et tout artiste qui y contribue, devient un intellectuel engagé.

Dans « Portrait de l’artiste en doctorant », Francis Claudon montre bien que Abdelkébir Khatibi s’émancipe dans sa thèse « Le roman maghrébin d’expression arabe et française depuis 1945 – essai de sociologie », des maîtres qu’il cite de façon parcimonieuse, à commencer par son directeur de thèse Jacques Berque et les membres du jury, Etiemble et Barthes. Comment expliquez-vous ce fait ?

Cette question est intéressante d’un point de vue chronologique. Une thèse défendue en 1965, au moment où le jeune Khatibi achève sa recherche sur le roman maghrébin, au moment historique où le Maroc est encore sous une forme de tutelle académique vis-à-vis de la France, illustre avec force le parcours d’autonomie qu’un intellectuel, qui construit sa pensée propre, entreprend. Nul n’est tenu de demeurer redevable à des maîtres de la pensée quand bien même ils s’appelleraient Berque, Etiemble ou Barthes.  L’intérêt porté par la communauté des chercheurs à la production de Abdelkébir Khatibi, depuis des années, atteste, au besoin, sa place incontestée dans le sanctuaire des grands noms de la pensée et sa large contribution à la littérature universelle.

Abdelkébir Khatibi: Oeuvre Plurielle et Héritages Culturels

Ce titre met en avant la pluralité de l’oeuvre d’Abdelkébir Khatibi et son héritage culturel, ce qui attire l’attention des lecteurs intéressés par sa diversité artistique et son influence culturelle, améliorant ainsi le référencement dans les recherches liées à son travail et son impact.

Abdelkébir Khatibi: Dialogues Interculturels et Héritage Artistique

En mettant en avant les dialogues interculturels et l’héritage artistique d’Abdelkébir Khatibi, ce titre attire l’attention sur sa contribution à l’ouverture culturelle, favorisant ainsi une meilleure indexation dans les recherches sur la diversité culturelle et l’apport artistique.

Par son oeuvre qu’irriguent l’Orient arabe, le Japon, le Tao, l’Occident, Abdelkébir Khatibi peut être considéré à juste titre comme un penseur et un écrivain de l’ouverture, de l’universalité culturelle même. Comment analysez-vous cette dimension de l’oeuvre et quelles explications apportez-vous à l’absence de l’Afrique chez Abdelkébir Khatibi ?

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Lecture Plurielle de Abdelkébir Khatibi: Témoignages et Analyse

Ce titre souligne l’importance d’une lecture variée de l’oeuvre de Abdelkébir Khatibi, incitant les lecteurs à découvrir différents témoignages et analyses, ce qui favorise une meilleure visibilité dans les recherches portant sur ses travaux littéraires et critiques.

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L’Afrique est au coeur des engagements intellectuels de Khatibi. C’est en tant que Marocain, Maghrébin et Africain (et vous pouvez inverser l’ordre de ces identités qu’il revendique avec force) que son oeuvre est à lire. Il fait partie de ces rares intellectuels à avoir plaidé pour ce qu’il appelait le « Maghreb pluriel ». Il fait partie également de ces intellectuels qui défendent le dialogue des cultures et des civilisations, ce en quoi il se plaisait à illustrer sa position par cette expression laconique d’étranger professionnel. Dans un monde de plus en plus étriqué et déchiré par des prises de positions extrémistes et aveugles, relire Khatibi pourrait apaiser les sentiments de rejets qui s’accentuent et s’accélèrent sur tous les continents. Bien avant la création du concept de littérature-monde, Abdelkébir Khatibi fut à l’avant-garde des changements de mentalités et de perceptions. A quoi tient ce palmarès atypique ? À une personnalité d’honnête homme au sens que lui donnait le siècle des Lumières, à un lecteur curieux et infatigable découvreur de textes.

Sur le plan philosophique, Abdelkébir Khatibi est dans la pensée de l’Être, au sens ontologique et heideggerien du terme. Cette promiscuité peut-elle expliquer la sensibilité de Abdelkébir Khatibi à la psychanalyse dont peu d’auteurs au Maroc peuvent se prévaloir, alors même que l’Être de Heidegger n’est pas le Sujet de la psychanalyse ?

Comme le sous-entend votre question, Khatibi ne se substitue pas aux psychanalystes dans ses réflexions. Il n’en a pas la prétention. Il interroge les paramètres psychanalytiques par le biais de la philosophie. C’est un domaine incontestablement plus proche des voies qu’il emprunte pour explorer la diversité de l’être et la complexité de l’identité en constante évolution. Son ouvrage le plus psychanalytique est certainement Par-dessus l’épaule dans lequel il va à la rencontre des aspects insoupçonnés du moi en devenir. Parce qu’il était un « traverseur » exigeant entre les cultures et les sociétés, Abdelkébir Khatibi a progressivement et contre des idéologies pugnaces et offensives, initié et développé au Maroc, en particulier, une stratégie d’écriture fondée sur la non-violence, éprise des marges, respectueuse de la différence et résolument tolérante. Legs précieux à l’humanité, elle réclame de nouvelles lectures  et de nouveaux questionnements.

Propos recueillis par : Abdallah BENSMAÏN

Abdelkebir and Mourad Khatibi – My Cousins of Culture and Cradle of Our Birth

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Original Text written in French by Hassan Wahbi – Text Original rédigé en Français par Hassan Wahbi

Hassan Wahbi is an author and academic faculty of French literature, intercultural issues and aesthetics at the Department of Literature at the University of Agadir in Morocco. He has published three books on Abdelkébir Khatibi and several collections of poetry.

The following Text was Translated in English by Said El Mansour Cherkaoui

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“A poet must leave traces of his passage, not proofs. Only the traces make you dream” René Char.

The literary strength of a work is the result of a long-term construction of a universe that unifies the apparent diversity of productions under the emblem of a constant imagination. In a way, the writer always writes the same book but each book remains open on its promises. In this sense, bringing the work of the Moroccan writer Abdelkebir Khatibi back to its unity of meaning, to its constancies, is not, here, a didactic artefact or a departure from the natural difference of each work. This is indeed a tangible textual reality.

From Tattooed Memory to A Summer in Stockholm, from the Class Wrestler in the Taoist manner to Dedication to the coming year, from plural Maghreb to Paradoxes of Zionism, we see in Khatibi the return – or the eternal return – of a form and a figure of meaning: the first is linked to the multiple uses of literary registers; the second to the exercise of a thought of chiasmus which has its origin in historical otherness, but which seeks to constitute itself differently to form a dialogical thought, ethics and an aesthetic of the Diverse: personal use of the world. Each Khatibi text manifests these two original and generative qualities.

The plural code

What must be said at the outset is that Khatibi’s interest in the diversity of literary registers is not based on a radical discursive separation; he writes in the sense of intergender: the analyst is split from the writer – as in Arabic Calligraphy or Plural Maghreb – and the writer from the analyst as in La Mémoire tatouée ou Amour bilingue. Attention is paid to the intense possibilities of speech. As he likes to say, his work is about the association of the intelligible and the sensitive [1]. With Khatibi, there is a double support for writing where body and mind come together in the same gesture.

In this game of co-presence and registrar alliance, we must see not only a polygraphic practice (essay, poetry, fiction …), but a lighting of the fundamental aspect of the work where the affixing of genres finds the aesthetic principle. This is evident in Khatibi’s first account, La Mémoire tatouée, or in his last, A Summer in Stockholm.. In Khatibi’s works, there is a contrapuntal approach that determines the formation of the narrative relieved of the rules of the genre. But Khatibi does not explode literary discourse; his writing is tied and unraveled in literary culture as a search for a space of creation. A quick examination of a few texts makes it possible to bring out this salient aspect of his writing in its shifts from one form to another, from one code to another.

The passage from one register to another in La Mémoire tatouée, from autobiographical discourse to reflective, poetic, or meta-discursive discourse, creates a modalization of the genre. The lived experience is not forced to be the prerogative of the narration; it is the object of a deeper exploration: the facts and gestures of the past are the basis of an existential form: research on oneself, on collective traces, quest for a literary identity, power of language, interrogation on notions of the double, of identity … the author is both riveted on himself and the paradigms of his experience. This double task of writing is only possible by finalizing the autobiographical project. This is what gives La Mémoire tatouéeits tension, its variegations, its thoughts, its fragmentation, and its ” work in progress ” aspect :

How did I define the autobiographical field? By demobilizing the anecdote and the news in itself, while directing my gaze towards the philosophical themes of my predilection: identity, and difference as to Being and Desert, simulacrum of the origin, destinal wound between the East and the West. ^[2]

This declaration inscribes La Mémoire tatouée in a writing outside the purely autobiographical alibi and entails three consequences: the continuous breaking of the story by various registers ^[3] , the transformation of the text produced into an object of discourse within La Mémoire itself. tattooed(as in the last chapter: “Double vs. Double”), and finally the quest of the story turns into the story of the quest. Everything is reversed and this is the stroke of genius of the book: the literary preoccupation with its own identity, with its experience, asserts itself as a source of otherness and writing. If the ego is shattered at the start by history, colonialism, the double language and the double culture and the definitive loss of the monovalence of the principle of belonging, everything remains to be discovered in the time of the self. The autobiography is in this sense the event of the strangeness of oneself in the wake of the emblems which touch every plural man. Tattooed Memory is the story of the particular overlap of the native in the counterpoint that marks the subject as a strangeness immanent to itself. Khatibi’s first story therefore produced, first of all, his liberation, his way of thinking about writing, literary subjectivity:

Have I not made a restless and inexhaustible recreation of my body? [4] 
From the plurality of registers, La Mémoire tatouée is organized as a complexity of discursive moments: past or images of the past, fiction or individual fantasies, fragments of thought or repeated disappointments in the movement of memory broken by the multiplicity of gazes and colors.

Finally, from autobiography, we move on to an authentic writing of oneself through language and its various forms. The principle of remembering or the story of childhood is a set of passages from one code to another: the anecdotal is nourished by a lyrical or reflexive vision, and the autobiographical is constantly thwarted by critical consciousness as in this passage as a typical example:

This man, who barely touched my mother, attacked the eldest son. I came in third position: my father agreed to send me to the Franco-Moroccan school, I became a degraded conscience, given to disbelief. Orphan of a missing father and two mothers, would I have the rotation gesture? Is it possible, to the portrait of a child? 

Because the past that I now choose as a motif for the tension between my being and its evanescences is deposited according to my incantatory celebration, itself a pretext for my dreamed violence to the point of disturbance or any circular idea. Who will write his silence, memory at the slightest erasure? ^[5]

This literary dialogism is different from Khatibi’s other accounts. In The Book of Blood, everything contributes to the realization of a lyrical narration: the narrative, despite the romantic ingredients – chronotype, characters, amorous intrigue, progression of the plot of the story … – does not install a content romantic, a development nourished by logical facts according to the individualization of the characters’ features and according to the rule of exotopia. [6] In The Book of Blood, we are faced with “a drama of the speech”. The expression of the course of the trial is dependent on the enunciative network, on the subject’s adventure as an adventure of transfiguration. Certainly thinking of the invoice for the Book of Blood :

Lead any narrator to the place of his transfiguration: the image of an irradiated tomb from which will arise – perhaps – the song of the poem and of the thought ^[7].

The characters in The Book of Blood, this prose poem of passion, are related to the heroes of the poetic tale [8] , both subjects of a quest and subjects of a sentence; completely integrated into paradigmatic questions because they are the support of an experience: the burning of otherness, the abstraction of the existential mode, the same and the different, the androgynical metaphor, the mother tongue, the mystical tone, the essence paradisiacal, ecstatic vision … This narrative quality loaded with poetic attributes marks the story in its foundation. It is about a scene of lyrical speech like “interior mimesis” [9]. The one who speaks in The Book of Blood, its own story is played out by the conative incantation. history is not, here, objectified. The enunciator is essentially a desiring individuality [10]. In this sense the narrative is scaffolded not by acts but by the enunciation of acts; he invents an art of saying do it, for example, this:

Yes, may your hand brush the water before contemplating your face! yes, you will be standing in the middle of the basin, stripped of your light clothes. Evaporated and yet so close to us, you will be put to the test. We will know how to love you in our annihilation ^[11].

If it is tempting to see this type of discourse as an exclusively poetic discourse, it is still necessary to know that the poetic does not exclude the transversality, that is to say the coextensivity of the story and the poetry. This allows us to say that the events in The Book of Blood are not “factual”: they relate to a word hatched in lyricism. It makes sense that what specifies lyrical writing is the quest for an enunciative mode of presence by passionate invocation and not by reconstitution:

So let your clear gaze circulate among us, so clear that it ignites the cup of wine (…) we have opened our five senses to your adornments, to your eyelash like a treasure … ^[12]

This character of the writing clearly shows how much literary forms are intertwined and how the narration in The Book of Blood is stirred by poetic intention and desire. The story, disembodied, is on the side of the subject, of language, of the unheard of. In this case, the incantatory poetic form of the text operates a shift in the notion of narrative as the discourse of history. It is advisable, in fact, to consider The Book of Blood in its literary ambiguity, that is to say that the poetic becomes the style of the story and that the relational system is governed by the amorous body,  the ecstasy of speech and the intense play of rapture. This book by Khatibi resonates like a brilliant, refined form, carved out of the renewal of the lyrical tradition and the secret of a singular word. ^[13]

This conjunction of discourses is further developed in Bilingual Love by the introduction, this time, of the reflection in the narrative which is the story of a character moved by the double language. In the history of relations with the factual world (flower, night, landscape, ocean, country …) and the human world (woman, the other …), the story develops and secretes a central thought – the bi-language – which guides the relationship to events. The lived history of bilingualism is told in the light of the metaphor of the double. According to the most diverse forms, in the most different situations, the character of bilingual Love grapples with language through the phenomenon of subtle and underlying transition between storytelling and reflection. The influence of language is linked to its strangeness: the language of writing is a foreign language and is akin to a physical presence which connects the subjective space of the world with the power of signs because “the language is more beautiful, more terrible for a foreigner ” ^[14]. The words in this story assault the character and interfere with diglossic or bilinguistic remanence by creating alliances enclosed in the body of the narrator as in this gender confusion:

He was thinking of the sun, and already his name, that of the moon, is reversed – from feminine to masculine – in his double language. Inversion that turns the words with the constellations. ^[15]

The words of the bi-language, of the double language as a condition of imagination, create a fictional problematization of identity, form a milieu, an unprecedented space for the romantic body which struggles in the conflict of words and gives birth to a narrative vision of the world and of the relationship to the other through language or awareness of language. The bi-language clearly appears in Bilingual Lovelike a creative otherness and strangeness moves, moves from language to existence, from verbal appearance to subjective being. The bi-language becomes a way of living and of speaking an essence. The body of the bilingual is open, spread out, deployed: from country to country, from difference to difference, from language to language, from body to body, his story is the unstoppable space of a mixed voice and enjoyment of the visible. The body injured by the double tongue is mixed up once and for all in the world:

Speaking to you in your language, I am yourself without being, effacing myself in your tracks. Bilingual, I am now free to be totally, on my behalf. Freedom of happiness that divides me, but to instruct me in any thought of emptiness. ^[16]

If Bilingual Love is a story based on the concept of bi-langue, this clearly shows the need for a new topic for the writer, such as the elaboration of strangeness of the self, of a deciphering of the self in the cadence of ‘a creative concept. The concept is transformed into an imaginary scene that spells out the bodies and the words. In this dynamic sense, the bi-language exposes the language of the narrative and the course of an expansive formulation of the question of language as the unveiling of an existence. Reflection on language is the manipulative instance of the text in its narrative foundations.

To love a being is to love his body and his tongue. And he did not want to marry the language itself (…) but definitively seal any encounter in the pleasure of the language. ^[17]

To think, to narrate, these are two united words. By recounting the world, the writer discovers the idea of ​​the world and living it, if it ends in a book, is already a book. The story gives us to see and understand. This fruitful conjunction of narration and reflection produces a didactic message and a type of narrative that can be called the paradigmatic narrative where the quest for oneself is joined to a thought of the language. Through the story, turned towards the future, the author has raised the historical event of bilingualism to the level of (personal) myth.

A very real framework in that it is the instrument of the story, the bi-language supposes the writing, and the object of the writing. The cause of the story is understood because the whole text is a setting vis-à-vis a course and a question. By creating an amalgam between an external datum (the bilingual writer) and a constructed universe, the story turns out to be a validation of reality in fiction. The bi-language gives to read a destiny that it has defined, delivered, and delivered by designating it in its fulfillment. The relationship of inclusion and implication that exists between the story and the reflection does not in any way imply the co-foundation of a thesis and a universe because bilingual Love is not a story that wants to say something autonomous and doctrinaire “wanting to say”, but the impulse of a test of oneself in the disorder of the world and of language. In short, it is about a self-didactic lesson that shows a character who learns to live his experience of being “exotic”. Bilingual love, as a reflective story, is the soft force that lucidly transforms the bilinguistic wound into a space open to the world. This undoubtedly remains a new history of lived dialogism and a new writing that disembodies narration as an exclusive mode because it manifests the need for reflection as an essential element in the production of the literary text.

This way of considering Khatibi’s stories allows us to underline that his writing explores the totality of the proposed world from the perspective of an over-coding where the referential function is bypassed by another form. This creates privileged intensities and moments because the narration is subordinated to the deployment of other literary registers, to the movement of other expressive desires. This is further explained in Khatibi’s last story:  A Summer in Stockholm.. This is the story of a translator’s trip to the city of Stockholm. He stays there, works there, thinks about it, lives there in love, meets characters, places, and landscapes, then leaves it to find the place of departure (the plane). This story of professional work in a Nordic city is not just a story of relationship, love, and friendship, but the story of a relationship with oneself through meditation or reverie, and a series of reflections. on the characters encountered, on the notion of travel, that of neutrality, friendship, love, or like, on the forms of the city and the landscapes. Regarding travel, the narrator makes this first thought:

Traveling, and changing country and language, excites my thoughts and my surplus pleasure. Every time I cross a border, I have the curious feeling that a secret is going to be revealed to me … ^[18]

A summer in Stockholm is constructed according to a series of moments illuminated in the trap of voluptuous words: hence the refinement and purification of this story as a scaffolding of essential words. Our reading postulate remains the same. This last account of Khatibi is of the same plural code that assimilates the partitions. To be in a plane (beginning of the text), is to dream of the sky, of an unprecedented death by chiseling the idea of ​​a singular departure:

Seen from the inside, the plane comes alive like a living museum, lined with portraits and allegories. I capture images from each traveler (…). Knowing how to stand, to contain oneself in one’s celestial territory without overflowing on the space of others, isn’t that characteristic of levitation! ^[19]

“Have we fallen into an air hole?   (…) has the plane changed course? Are we caught in a cosmic trap? A ruse of the improbable? Woe to the one who recalls the in the face of the dead! Woe to those who wear their shrouds! I am thrown, I am born and I die in the same gesture, equal to myself, to my mutations, suddenly solidified on the bas-relief of my seat. ^[20]

To be on earth is to intensify the attention to things, to the world, as a set of formulations or looks on plasticity from the outside, as in this excerpt:

Sitting near the glass, I was attracted by the play of reflections on its surface, and by the feedback effect, I noticed on the pensive faces a density folded in on itself. A placid density, yet scattered here and there in the blue of the eyes, the so smooth softness of the hair, and which nature, which ran in a way at our pace, intermingled with the twigs of grass, giving the fields a silvery tone, iridescent flowers, and wandering impressions. Summer offered us its measure of life. ^[21]

This other example shows the density of the presence and reception of the outside:

A light fabric of clouds tore, enriching the tone of the colors and their variegated depth. It is this departure suspended in the sky, vanishing upon its completion in a rapid metamorphosis, which calls the lightning of the gods and spirits of old. Any flâneur in love feels it by a fleeting trembling that crosses him, attached as he is to the whims of nature so that the grace of these moments may be returned to him. ^[22]

The exaltation in the way of painting the characters, the spaces, the density of the words, and the emblematic situations, extend the fiction differently by other means to make it happen through figures, images, poetic thoughts, and different treatment of space, time … All this frees the story from the “shackles of fiction”. What is more, this tendency to sublimate the anecdote by figures, intensities, and questions, refers to an eminently Khatibian thematic which passes, here, by the corroboration of the elements relating to the strangeness, to the disorientation, to the latency of the things, adrift of bodies in the world, signs of the sensitive world.

The purification of fiction creates a more interior resonance. In this sense, things are not only represented but interpreted, intercepted by the narrator’s imagination. In Un été à Stockholm, the author maintains the narrative but based on the sensitivity which supports the relationship to things, to characters, to history, to “themes of his predilection”. And this is always in an elucidated relationship with his creation – creation is accompanied by reflection – because the author, far from separating himself from his text, inserts himself into it and enlightens it with his presence as in his other texts. The story is built in the activity of writing by “its inner theoretical fiction”, for example:

I repeat this story is not a key novel. [23] No one has decided the logic of this story, nor its correct combination. [24] This story which made me dreamy made me think of my magic square, that is to say of a myth detector. I do not apprehend all that it conceals that is irrational; but what I do know is that by emitting a magnetic force, he made me take a back seat, me Gérard Namir the narrator. ^[25]     

Indeed, the story of Un Eté à Stockholm, with its logic of reconciling registers, is a text centered on the expression of a “fictitious experience” refusing the prosaic uniformity of the story, magnetized by its system of significations (travel, love, quest …), its circularity (the end covers the incipit), its duality (abstract-concrete). This specificity of the story can be explained by Khatibi’s concern with using a multiplicity of forms to mark all the states and outflows of the narrator in the story of his divisions, the shifts of his vision, and his gravitation.

I have taken, here, in this introduction to Khatibi’s writing, only the case of the stories. In his poetic texts ( The Class Wrestler in the Taoist manner, and Dedication to the Coming Year) or in his only theatrical text ( The Veiled Prophet), we can easily see the stylistic approach favoring various tones as a source of writing and imagination. These tones are revealed there in the form of a commentary or generalizing reflections; what is poetically experienced is reinforced by the resulting idea but in the same thematic order. The counterpoint acts on the stylistic level. Under this principle, words draw thoughts or snatches of thoughts that burst into clusters of sparks, either on otherness, difference, or love …

The writing of the essay undergoes the same effects of multiplicity. Khatibi’s essay claims the freedom of a style freed from the prevalence of totalizing argumentation because there is always a presence to oneself in the discourse; Paradoxes of Zionism ends with a poem and aphorisms about otherness; Arabic Calligraphic Art is supported by a celebratory language close to the secret fascination exerted by the symbolism of drawn letters; Maghreb plural, from its first chapter, questions the concept of identity starting from the philosophical ground, starting from the question of being; the writing in La Injury of the proper name, as it is affirmed at the beginning of the work, clarifies the direction of the book and of the body in what he calls “the Crystal of the text” to give to the object “its status within the writing “(in the strongest sense of the term) which shapes pure abstract thought.

The plural code, in Khatibi’s work, is therefore an internal dynamic that regulates the textual process. And of course, this is just one way of perceiving Khatibi’s style; it is a global vision of his texts. In reality, this does not take into account the other textual specificities and their breadth of meaning. This sketch of the plurality that works in the text, represents a relative prerequisite for understanding the spirit of Khatibi’s writing which has a particular status in “Maghrebian literature in the French language”. Resorting to the idea of ​​the plural code is a deliberate way of deploying the mode that the writer assigns to himself in his creative activity without wanting to alter the complex nature of his texts, their timbre, and their spectrum.

The plural code is what the original material of Khatibi’s texts proposes, their movements of structure and echo which arouse reading and which make the elements of literature interpenetrate. In other words, it is a question of giving form and meaning to the paradox, repeating ad infinitum the excess of writing, and digging its language into languages.

The paths of the various

This plurality at work in the language of writing is also the trace of significance that sustains the thought of writing, the figure of texts. I will only take here a few examples to show the exercise of the writer’s thought, the metaphor of his world arising from sequences, from putting texts in relation.

From one text to another, Khatibi’s writing participates in an enterprise in which the notion of dialogism forms the center of a will, of a conscience. This is manifest as much in the essays as in the texts of creation, dialogism is to be considered in its anthropological or philosophical sense – the individual being is intimately linked to the other, and no ideology can break this elementary intensity of the interrelation. – and in its ethical and aesthetic sense: the need to find traces of the other – traces lived and traces in the making – through imagination and literature. This is fundamental because the subjective aspect of Khatibi’s themes is the result of a consubstantiality with the interrogative and constitutive exterior of the

In this sense, Khatibi built his universe gradually, asymptotically, from The Tattooed Memory to A Summer in Stockholm, from The Wound of the Proper Name to Over the Shoulder. From the experience of internal plurality in Moroccan society (plurilingualism, plural culture), he deepens his questioning in “creative understanding” by circumscribing a word of love. Dialogism and love, are two terms, the same story. But where does this story come from, Is this determination responsible for the multiple places of the Khatibian statement? It comes – literally – from a first fight, the first oscillations, a first implosion contained in La Mémoire tatouée where we see the regulation of questions of otherness, identity, difference, West / East bi-polarity.

Often to speak of oneself or the other, we conceive of this as a binary, a division of consciousness, a topology of sharing; either rooting in the first case or a kind of offset or more extended identification in the second case is made absolute. Neither the expressed anchoring nor the ordeal of the (exalted) foreigner constitutes distant poles, clear freedoms.

There is a complex progression which means that the history of individuals is made in the rumor of interrelation, in the difficulty of the appropriation of oneself at one time or another, or of the evacuation of the other in the historical moments of self-reflection. Identity is a vertical question, not the defined base of a force but the continuous and lasting process of a constitution. Above all, it can be the exemplary place of a symbolic experience where the question of genericity and singularity is posed in ambiguous and problematic terms, that is to say, that of belonging and of distance.

Identity in this sense can be the object of an irreparable oxymoronic variation over time, the stolen origin, and the event of the strangeness of the self. And this is beyond the malaise but in the wake of the emblems of structural plurality. Through this first literary text by Khatibi, we can grasp the particular coverage of the native. The concern for identity exists there but is integrated into a complex of relationships which will later be completely transfigured in Bilingual Love and A Summer in Stockholm. The literary preoccupation with one’s own identity asserts itself as a source of otherness. The monovalence of the ego has given way to a reality of infinite resourcing. Talking about yourself is talking about the other, talking about the other is

In the beginning, something disappeared: “The coextensivity” of the self and its image. The sharing of the self wraps the inflexibility of identity as pure constancy of personal unity. Something is lost:

She accepted my nomadic temptation, and she cried because she knew that I was becoming a little more simulacrum ^[26]

The advent of the simulacrum is inscribed in the continuity of the past, resulting from the context of childhood where the narrator found himself thrown into the insecurity of the heterogeneous:

Son of a parallel mother, I rushed straight into the encroachment of identities, duplicity, belonging to a poisoned happiness ^[27]

It is the unity of meaning to which the autobiography aspires that makes it possible to situate the simulacrum concerning the defect of personal unity and which creates the process of differentiation by enthroning the principle of disparity. The first example cited: “she knew I was becoming a little more simulacrum”, is linked to the narrator’s departure to the West. This effective separation is only the reflection of a fundamental separation as an effect of the remotivation of the proper name at the beginning of La Mémoire tatouée by the actualization of the sacrifice:

I was sacrificed when I came into the world, and my head was, in a way, offered to God. Have I ever found her? ^[28]

In view of this original gift, the ego can only become an “addition of simulacra”. From this initial absence arise the effects of separation, of duplicity which punctuates the text: double mother, double city, double language … It is a life story endowed with an organizing principle pushed to the extreme which determines the relation to oneself throughout the text. This idea of ​​spacing in itself makes a difference. A difference that deepens in the ego as a sui generis entity.

Tell me about your current identity rather than your rhymed prose ^[29]

What must be emphasized is that the narrator is in a situation of quest and variation. Instead of listening to the random discourse suggested by identity as a principle of self-definition, the narrator bursts into a shower of sparks about what constitutes the proper, self. Concern for the self is therefore first of all the multiple realities of the state of existence. And the space of oneself is primarily the space of writing where the logic of being triumphs. Only this space can combine the diversity experienced. Otherness is fleshed out by the subjectivity of experience. Writing introduces distance, deliverance, and away in relation to the historical crisis of identity:

We conclude that the difference, like identity, is a rhythm and a painful dance ^[30] The difference is a woman ^[31] I league with the evanescence ^[32] It is not a question of a line to be drawn in the thought between identity and difference, simply a line to make travel in the breath … ^[33] I want (…) to make you brush against the necessity of my sharing. I have often repeated to you that my being is not this void that you name ^[34]     

The complex order of the reports suggests the interpolation intrinsic to the history of the writer who seeks to obliterate the exacting and rigid definition of belonging. Identity or difference receives in this sense the property of a movement, the sense of travel, and the power of becoming. It is a way of reconnecting with the strangeness immanent in oneself. The strangeness is not here this accursed part which gnaws at the mind, but a coming and going between what is itself and what is the self-other, because we are always confronted with ourselves. The undivided person – if that exists – is in reality only the forgetting of himself in the weariness of certainties. The examples cited above clearly show the importance for Khatibi autobiographer to form a scene of writing where identity seems to switch between concept and metaphor, where faces exchange their features to better free themselves from the impure of crossings, and while safeguarding the mobile principle which goes from one line to another. The face is whole but we never settle in the identity, we never migrate in the difference. From the historical law, the narrator falls into the law of life which remains ungovernable. And only writing can designate in its requirement, in its vigilance what must matter for the writer: The face is whole but we never settle in the identity, we never migrate in the difference. From the historical law, the narrator falls into the law of life which remains ungovernable. And only writing can designate in its requirement, in its vigilance what must matter for the writer: The face is whole but we never settle in the identity, we never migrate in the difference. From the historical law, the narrator falls into the law of life which remains ungovernable. And only writing can designate in its requirement, in its vigilance what must matter for the writer:

(…) the West is a part of me, which I can only deny insofar as I fight against all the West and East that oppress me or disillusion me

In the beginning, there was the questioning of oneself and this questioning did not lead to the search for identity for itself, but to a problematization of identity as a graft, as tattoo removal against a background of traces:

Well! whatever the implication of an identity, it is not a question (…) of looking at oneself in this mirror game. Love those who like this little game of renewal ^[35]

The movement is inexorably inscribed in the person of the autobiographer. We could multiply the examples: they all reaffirm – even in the excess of violence at the end of the text – the adventure of ambiguity from which the story draws its power in order to be able to evoke several expressions of the thought of identity. From a familiar site to a foreign site, La Mémoire tatouée seeks to capture the frail secrets of an interior crackle because any question, even that of identity, forces the shape of the world to be revised. Khatibi’s autobiography therefore produced, first of all, his liberation, his end or his beginnings in literature, in the very paradox of colorful existence.

To learn to be in the thickness of the relations supposes the discovery of oneself and the principle of a style of existence starting from the crystallization of the voice, of its voice. The autobiographer therefore goes towards the enigma that makes him write by taking the path of lived dialogism.

This taking charge of history and of subjectivity in history from the personal foundation of otherness leads Khatibi to acquire a lasting double position. The first is intellectual and relates to some major Moroccan, Arab or Islamic questions: on the internal contradictions and blind spots of Zionist discourse as a new negation of the Other (and this in Paradoxes of Zionism ); on the inextricable diversity of cultures and languages ​​within the Moroccan socio-cultural structure (in La Blessure du nom proper or the interviews given to Lamalif n ° 85, 1977, and to Pro-culture No. 12); on the need to open up the unthought, the unspoken Islamic and to free the energies of life and questioning, such for example sexuality in the Koran, psychoanalysis, and Islam, the languages ​​of the body, the status of the individual … etc   (see in this regard La Mémoire tatouée, Maghreb plural, Over the shoulder  …). On the other hand, his position as a French-language writer (but in reality bifurcates because in the bilingual there is always one language behind the other, one culture behind the other), leads him to consider fate. Moroccan about the other in an in-between: in a civilizational chiasmus, in double criticism, in the cleavage of historical and ontological edges without succumbing to the blissful intercultural mixture, but by developing the idea of ​​interbreeding as a possibility of singular displacement and flexible passage from the One to the Other, from oneself to oneself, in the sense of an “art of living” which is thought out. This ethic of “thinking about borders” is a lucid position in the debate on languages ​​in Morocco and concerning the French-speaking world. It is presented as a valuation of work in the language-other. This reconverts an ambiguous situation of sharing into a universal situation, that is to say into a specific conception of literature. Does he not say that “being reborn in the language of the other for a bilingual and whose mother tongue is no longer that of his writing (…) is this tragic movement carried by deep, distant, orphan desire, neutral in all writing.

It may be a chance, a very uneasy happiness, but undoubtedly, it is there a risk to be exorcised by realizing it while keeping it within its ecstatic limits ” to be reborn in the language of the other for a bilingual and whose mother tongue is no longer that of his writing (…) is this tragic movement carried by the deep, distant, orphan, neutral desire of all writing. 

It may be a chance, a very uneasy happiness, but undoubtedly, it is there a risk to be exorcised by realizing it while keeping it within its ecstatic limits “^[36] This is a new light on bilingualism as an irreducible essence:

The inside is always preceded by the outside. Submit the concept of Francophonie to analysis by opening up writing to the outside world. The narrative of languages ​​breaks the ethnotalitarian border towards a universalization of the book. The extra-muros is the name of the outside, of the proximity of the foreigner. ^[37]

Identity, even started, even struck with asymmetry, does not suppose depersonalization or entropy. It is itself the meaning of questioning towards “hospitality without complacency” [38] , towards the diverse state of literary idioms. Hence Khatibi’s interest in the question of foreignness, either as a set of imaginary experiences in French literature (see Figures de l’Etranger ) or as an assumed principle of “listening to the other in as other ” ^[39] (see Japanese Shadows ).

As for Khatibi’s position, it stems from the first: it is about the love of sanity as a subjective paradigm, as a literary motif situating the ego between native proximity and the diversity of the world, between the feeling of existence and the attractiveness of things. This can be read in Khatibi’s texts from La Mémoire tatouée , Un été à Stokholm . The landscapes, the factual elements, the tone of the sky or the earth, the climate of a day or the color of a night, the shape of a city or the cadence of the sea … are sought-after images of ways of inhabiting, moving, feeling and living by producing a “geo-poetics” as a way of reading “the lines of the world” [40]and “the beauty of time”, to retain the first essences and the fragments of the elements. In Khatibi’s “characters”, it is a question of “willing availability” ^[41] in relationships, in outflows.

We note in Bilingual Love , to take just this example, the existence of a literary tone made of listening to the world as a composition of a figure of relationships. In this text, the value of the presence in the protean places of the outside is constructed. There is a singularization in the representation of space (human or non-human) which makes the outside livable: “He was there, smiling, in front of the totality of the visible. He was celebrating the world with this desire.” ^[42]

Presence is here a mode of enjoyment that the language of writing offers itself through the story of love, to the point of making it a generalized glow which allows the body to advance in the bow in the elements of the world for its sake. ‘to confuse it, to take its place in its relational braid. To narrate the fable of this interweaving, it is not to reinforce the cosmopolitan echo of a wild “departure” but the style of a vertigo of wandering. To be in the world through writing is to create a ceremony of giving, drifting and dazzling:

Scansion, cadence from wave to wave, abyss of sky and waters. Was he dreaming? Immediately, it was invaded by a very great softness as if, swimming from continent to continent, it was eternally adrift. ^[43]

In this state of contact, of embracing, of loving, there is strongly a state of receptivity. The character’s body, when speaking outside, has its measure of joy, that which allows it to experience the vitality of things. The main reason is that the world of bi-language (history of union and separation), can only be drawn by the words of attraction and fascination. The story of the relationship with languages ​​and the love of the world testifies to the character’s desire and his thought to elevate his wounded life to make it the major sign of a new pact with the visible which makes possible the creative presence in the world. foreign language and its “entity”:

The only visible splendor that I know – is beyond all infinity, all absolute. I was finally delivered from the gods and their elusiveness. My presence, yes, in the sublime presence of things, and their cruel emptiness is mine. ^[44]

Such a need to assert the state of self-existence is explained by the deliberate desire to navigate the paradox of strangeness. The deliverance is in the same paradox. This explains the return of the visible as a poetic place of possibilities:

From then on, he fixed his attention on the beauty of the visible on the thing itself, a thing for no one, a thing changeable according to the power of the heart and the spirit. ^[45]

This irreducibility of the experience of the visible exterior, this sumptuousness of the fragile attachment to the world through words, give Biligue Amour the tone of a sensation of the diversity and the stripping of the essential chiasmus in a system of life. The gaze is nourished by what it looks at, the body by what it incorporates. The exercise of the foreign language is the deployment of confluences. As a result, the bilingual, in his celebration of the visible, is condemned to live in the world, to imbibe the flesh of happy futures:

The future? Love, nothing but love, does the body present? An incredible pleasure. So the misfortune? A purification of the soul and of the mind. ^[46]

The habituation to the various games of duplicity means that only life remains to live and write in the passage of words from the world where the bilingual finds his reason for presence. And the dialogical experience can only be imagined in the multiple hollows of the livable space of the world. Consequently, the practice of writing with Khatibi is an opening of life in the text and of the text on life by the regulation of the poetic rhythm. Writing takes hold of the writer’s subject, becoming his adventure in the responsibility of speaking: “I like the sentence to witness the force of life and translate its emotions”. ^[47]

This naturally establishes a conception of literature as “rigorous subjectivity”, as the incidence of a consciousness combining the practice of literature with the truth of its site: “Literature begins in my mind when there is an exact translation. , fairly rigorous in what we are ourselves, and where we are. We arrive where we are. ” [48]Literature is individualized in a reality of correspondence which regulates the status of the writer in his commitment as a writer through a double openness: openness to oneself and infinite questioning of the time of the world and the “signs of the present”. We are, here, at the very heart of what we could call Khatibian art, that is to say, the art of making sense springs from the human itself, from a subjectivity exploded, decompressed, solicited as the most lively, the surest means of advancing in the world of questions through language, through literature. This royal road to creation does not only constitute a “fable of the person”, but the nodal point where the principles of Khatibi’s writing are linked and transposed: interbreeding, love, otherness, bi-language,

All these notions bring into play the writing of Khatibi without locking it in a box, in a mode, in a code; he moves shapes, moves like a patient surveyor, and questions himself over the shoulder on what is being written in his very instance. And writing in this case is not for Khatibi a neutral exercise, it is a dimension of existence; writing is a way of existing and of working socially, even with one’s roots in life. Better still, writing, in Khatibi, is a measure of reality from the foundations of the person transformed into “words of the book”. Attention to oneself is the corollary to the attention of language without gratuitousness but in the sense of the seriousness of the passionate stake. And is the ultimate requirement that the writer sets for himself.

Hassan WAHBI

---

^[1] Interview with A. Khatibi, Le libéral, April 26, 1990.

^[2] Presentation ofLa Mémoire tatouée, 10/18, 1979, p. 11.

^[3] CfLe Texte polyphonique, 3rd cycle thesis by Wahbi Hassan, Jussieu, 1986.

^[4] The Tattooed Memory, op. cit., p.202.

^[5] Ibid., P. 26.

^[6] This term of Bakhtin signifies the necessity of the exteriority of the author in the romantic creation to allow the characters to end in their own axiological universes.

^[7] The Tattooed Memory, op. cit., p. 9.

^[8] JY. Tadié,Le Récit poétique, PUF, 1978.

^[9] N. Frye,Anatomie de la critique, Gallimard, 1969, p. 357.

^[10] E. Gans, “Birth of the lyric self”,Poeticsn ° 46, 1981, p. 131.

^[11] The Book of Blood, Gallimard, 1979, p. 14.

^[12] Ibid., Pp. 15-16.

^[13] This is why this text requires reading in the light of its poetry, because it is futile to seek what is not there. Its strong form requires another breath in reading.

^[14] Bilingual love, Fata Morgana, Montpellier, 1983, p. 10.

^[15] Ibid., P. 11.

^[16] Ibid.

^[17] Ibid.,  P. 29.

^[18] A summer in Stockhlom, Flammarion, 1990, p. 27.

^[19] Ibid.,  P. 11.

^[20] Ibid.,  P. 16.

^[21] Ibid.,  P. 26.

^[22] Ibid., P. 61.

^[23] Ibid., P. 156.

^[24] Ibid., P; 10.

^[25] Ibid., P. 172.

^[26] The Tattooed Memory, op. cit., p. 127.

^[27] Ibid., P. 33.

^[28] Ibid., P. 30.

^[29] Ibid., P. 193.

^[30] Ibid., P. 196.

^[31] Ibid., P. 157.

^[32] Ibid., P. 199.

^[33] Ibid., P. 200.

^[34] Ibid., P. 118.

^[35] Ibid., P. 198.

^[36] The same book, Ed. De L’Eclat, 1986, p. 43.

^[37] Notes from the “extra-muros” seminar, International College of Philosophy, Paris, 1984.

^[38] A. Khatibi,Francophonie et idiomes littéraires, Ed. Al Kalam, 1989 (text written on the occasion of the Estates General of La Francophonie, Paris, 1989.

^[39] Ibid ..

^[40] The terms are from Kenneth White.

^[41] JP. Richard, “Variations d’un paysage”, Poétiquen ° 31, 1982, p. 355.

^[42] Bilingual Love, op. cit., p. 14.

^[43] Ibid., P. 13.

^[44] Ibid., P. 108.

^[45] Ibid., P. 45.

^[46] Ibid., P. 128.

^[47] The Liberal, op. cit.

^[48] Librement, n ° 1, 1988, P. 47.

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Laâbi ★ Abdelkebir: Reading Moroccan Destiny in French Metropolitan Language

Laâbi ★ Abdelkebir: Lecture de Destinée Marocaine en Langage Français Métropolitain Septième vie ★ Seventh life Traduction en Anglais ★ Translation in English by Said El Mansour Cherkaoui Combien de vies ai-je vécues ? J’aime à penser six et qu’il me reste une septième à honorer Des pages blanches que j’aurai plaisir à remplir avec de jolis petits riens des mots ressuscité sà force d’être caressés dans le sens de la lumièreet de la volupté Avec … Continuer de lire

Leonor Merino García Search results for: abdelkebir khatibi ABDELKEBIR KHATIBI, HISTORICAL MEMORY OF MAZAGAN, MAZAGAN EL JADIDA DOUKKALA, MOROCCAN CULTURE, MOROCCAN LITERATURE Light on the Memory of El Jadida  Said El Mansour Cherkaoui, 10/11/2016   Criticism: a Poem and a Gift from the Other Planet of Poems & Planet of Poems Abdelkebir Khatibi: Our Fire and Regretted Writer Ouled Sfa, Child in Jadida Doukkala Racine Criticism: A Poem and a gift of the … Continuer de lire

Light on the Memory of El Jadida 

Said El Mansour Cherkaoui, 10/11/2016   Criticism: a Poem and a Gift from the Other Planet of Poems & Planet of Poems Abdelkebir Khatibi: Our Fire and Regretted Writer Ouled Sfa, Child in Jadida Doukkala Racine Criticism: A Poem and a gift of the Other Like Critique himself, punctuating the twists and turns of the destructuring and constructiveness of writing by others and even ideas of progress … Continuer de lire

Moulay Ahmed Cherkaoui: Education Populaire et Progrès Social du Maroc

Moulay Ahmed Cherkaoui a ses propres frais, utilisaient ses voitures et cars de transport pour faire venir de Fès, de Marrakech, de Rabat et de Casablanca les familles des résistants et des nationalistes emprisonnés a la Prison Agricole de Ader dans la banlieue d’El Jadida.   Mon Père et ma Mère offraient aussi le gîte, l’habillement et l’alimentation a ces familles et a leurs époux emprisonnés … Continuer de lire

https://mazaganmagazine.wordpress.com/2021/12/11/abdelkebir-khatibi-2/

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