Adonis Diaries

Archive for the ‘biographies/books’ Category

The master artist preserving Jerusalem’s history

Jerusalem, occupied West Bank – In his small and cramped studio, Shehab Kawasmi moves carefully around piles of centuries-old photographs, stacks of drawings and thick books.

by 3 Jan 2018
The master artist preserving Jerusalem's history
A realist painter, Kawasmi uses his brush to draw hundreds of historic and religious landmarks in Jerusalem’s Old City, the place where he was born and raised.

“I feel it is my duty as an artist to preserve the history of our city for future generations,” said the Palestinian aritis, who has dedicated his life’s work to depict the rich history of his city.

Born in 1959 in the holy city’s Chain Gate neighbourhood, just a few steps away from al-Aqsa Mosque, the Palestinian painter grew up surrounded by Jerusalem’s numerous monuments.

For him and his friends growing up in the 1960s, these iconic landmarks were their playground, a place of affinity and inspiration.

Drawings of Old Jerusalem from the artist’s book [Al Jazeera]

Ever since his teenage years, the Old City, with its ancient landscape, interlinked souqs and Roman, Christian and Islamic architecture, has always lured Kawasmi to recreate it on canvas.

“I used to draw Jerusalem landmarks for friends and family as gifts, but later on they encouraged me to do it professionally and full time, and this is how I started my Jerusalem collections,” he said.

Kawasmi has so far published a number of books with his creations and has exhibited both at home and abroad.

His vast collection includes drawings of intricate artwork from inside al-Aqsa Mosque, Ottoman architecture, Christian landmarks, churches and ancient archaeological sites.

They are all based on his own observation of the famous landmarks, as well as photographs he has taken of them.

Kawasmi has also assembled a vast collection of old photographs of many of Jerusalem’s historical and religious places dating back to the previous centuries.

His latest book, Kan Yama Kan, or One upon a Time: Jerusalem before a 100 years, has more than 70 black and white realistic drawings depicting the Old City’s history and religious significance.

Drawings of Old Jerusalem from the artist’s book  [Al Jazeera]

Every time the topic turns to Jerusalem, Kawasmi’s face lights up as he describes the Old City’s ancient passageways, many of which outsiders would find puzzling and confusing.

He and other local Palestinians know almost every corner of the city’s narrow lanes, its secret alleys, its Roman caverns, its Christian monasteries and numerous Ottoman and other Islamic landmarks.

“I can never get lost here,” said Kawasmi.

Like every Palestinian from Jerusalem, every corner of it is practically imprinted in my memory since childhood.

“This place represents my entire life – as a child, an adult and as an artist.”

Shehab Kawasmi in his studio [Ali Younes / Al Jazeera]

Kawasmi said the publication of his latest book hit a snag due to the high cost of printing its glossy cover-to-cover content.

But things took a turn for the better when King Abdullah II of Jordan, who is the custodian of the Muslim and Christian holy sites in Jerusalem, decided to sponsor Kawasmi’s effort after coming to know about it.

“King Abdullah saved this project with his generous donation, and I am so grateful for that,” he said.

Abdullah also purchased 100 copies which he gifted to participating delegations during the Arab League summit held in Jordan’s capital, Amman, in March.

Currently, Kawasmi is working on another book of drawings dedicated specifically to al-Aqsa Mosque and its ancient artwork.


I am This Palestinian girl: #ahed_tamimi (3ahd)

Image may contain: 1 person, selfie and closeup
Niveen Abboushi. December 22, 2017 at 11:23am · 

Who am I?

I am a Palestinian girl.

Before I was born, the occupation took most of my village’s lands to build a new settlement called Halamish.

Then they arrested my father.

When my aunt went to visit him, one of the soldiers pushed her over the stairs of the court and she died.

Since I was little the settlers of Halamish keep stealing more and more of our lands to expand the settlement.

Our home has demolition order because it is in Area C. The settlers are allowed to build on our land, but not us.

In 2005, the settlers made the spring (water) of our village part of the settlement and prevent us from using it, even though many of us are farmers.

All these things happened with great support from the Occupation army and government. (Especially US financial aid and those Evangelical Zionists around the world)

When the people of the my village started to resist the injustices with protest marches, my father was arrested again.
My mother was arrested too. My uncles, aunts, brothers, cousins – all of them were arrested too.

My cousin Mustafa was killed by the Israeli army. My uncle Rushdi was killed by the army too!

An Israeli sniper shot my mom in the leg and she couldn’t move for long time.

Almost every week, the army breaks into our homes to arrest one of my family or to confiscate our laptops or phones.

During our marches, they shoot us with tear gas and rubber bullets – my cousin is in hospital badly injured because he was shot in the face the week before.

A few days ago, two soldiers came to our house to take positions to shoot at the demonstrators from my village. I stood with my family to prevent them, the soldier pushed me and I slapped him.

And now I am in jail!
My mother and my cousin are in jail too!
The occupation government and media call me a terrorist.
Do you know who I am?

And what would you do if that was your life? Or the life of your child?


Why is the West praising Malala, but ignoring 16-year-old Palestinian girl Ahed Tamimi?

by 28 Dec 2017

Palestinian activist Ahed with her mother Nariman [Al Jazeera]

Their campaigns on empowering girls in the global South are innumerable: Girl Up, Girl Rising, G(irls)20 Summit, Because I am a Girl, Let Girls Learn, Girl Declaration.

When 15-year-old Pakistani activist Malala Yousafzai was shot in the head by a member of Tehrik-e-Taliban, the reaction was starkly different. Gordon Brown, the former Prime Minister of the United Kingdom, issued a petition entitled “I am Malala.” The UNESCO launched “Stand Up For Malala.

Malala was invited to meet then President Barack Obama, as well as the then UN Secretary-General Ban Ki-moon, and addressed the UN General Assembly. She received numerous accolades from being named one of the 100 Most Influential People by Time magazine and Woman of the Year by Glamour magazine to being nominated for the Nobel Peace Prize in 2013, and again in 2014 when she won.

State representatives such as Hillary Clinton and Julia Gillard as well as prominent journalists such as Nicholas Kristof spoke up in support of her. There is even a Malala Day!

But we see no #IamAhed or #StandUpForAhed campaigns making headlines. None of the usual feminist and rights groups or political figures has issued statements supporting her or reprimanding the Israeli state. No one has declared an Ahed Day. In fact, the US in the past has even denied her a visa for a speaking tour.

Ahed, like Malala, has a substantial history of standing up against injustices.

She has been protesting the theft of land and water by Israeli settlers. She has endured personal sacrifice, having lost an uncle and a cousin to the occupation. Her parents and brother have been arrested time and again. Her mother has been shot in the leg.

Two years ago, another video featuring her went viral – this time she was trying to protect her little brother from being taken by a soldier.

Why isn’t Ahed a beneficiary of the same international outcry as Malala? Why has the reaction to Ahed been so different?

‘Children of the stones’: the day Palestine was reborn

Ramzy Baroud
by Ramzy Baroud

There are multiple reasons for this deafening silence.

First is the widespread acceptance of Israel state-sanctioned violence as legitimate. Whereas hostile actions of non-state actors such as the Taliban or Boko Haram fighters are viewed as unlawful, similar aggression by the state is often deemed appropriate.

This not only includes overt forms of violence such as drone attacks, unlawful arrests, and police brutality, but also less obvious assaults such as the allocation of resources, including land and water.

The state of Israel justifies these actions by presenting the victims of its injustices as a threat to the functioning of the state.

Once declared a threat, the individual is easily reduced to bare life – a life without political value.

Italian philosopher Giorgio Agamben has described this as a time/place sanctioned by sovereign power where laws can be suspended; this individual can therefore now be made a target of sovereign violence.

Terrorists often fall within this category. Thus, the execution of suspected terrorists through drone attacks without due judicial process ensues without much public uproar.

11-year-old Ahed cries during the funeral of her relative Rushdi Tamimi, who was shot by Israeli forces during a protest in November 2012 [Reuters/Mohamad Torokman]

The Israeli police have deployed a similar strategy here. They have argued for extending Ahed’s detention because she “poses a danger” to soldiers (state representatives) and could obstruct the functioning of the state (the investigation).

Casting unarmed Palestinians like Ahed – who was simply exercising her right to protect her family’s well-being with all the might of her 16-year-old hand – in the same light as a terrorist is unfathomable. Such framing open the way for authorizing excessive torture – Israel’s education minister Naftali Bennett, for instance, wants Ahed and her family to “finish their lives in prison.”

Ahed’s suffering also exposes the West’s selective humanitarianism, whereby only particular bodies and causes are deemed worthy of intervention.

Anthropologist Miriam Ticktin argues that while the language of morality to alleviate bodily suffering has become dominant in humanitarian agencies today, only particular kinds of suffering bodies are read as worthy of this care.This includes the exceptionally violated female body and the pathologically diseased body.

Ahed’s father Bassem Tamimi stands inside a waiting cell ahead of the verdict in his trial at Israel’s Ofer military court near the West Bank city of Ramallah on May 20, 2012 [AP/Diaa Hadid]

Such a notion of suffering normalises labouring and exploited bodies: “these are not the exception, but the rule, and hence are disqualified.”

Issues of unemployment, hunger, threat of violence, police brutality, and denigration of cultures are thus often not considered deserving of humanitarian intervention.

Such forms of suffering are seen as necessary and even inevitable. Ahed, therefore, does not fit the ideal victim-subject for transnational advocacy.

Relatedly, girls like Ahed who critique settler colonialism and articulate visions of communal care are not the empowered femininity that the West wants to valourise. She seeks justice against oppression, rather than empowerment that benefits only herself.

Her feminism is political, rather than one centred on commodities and sex.

Her girl power threatens to reveal the ugly face of settler-colonialism, and hence is marked as “dangerous”.

Her courage and fearlessness vividly render all that is wrong with this occupation.

Ahed’s plight should prompt us to interrogate our selective humanitarianism. Individuals who are victims of state violence, whose activism unveils the viciousness of power, or whose rights advocacy centres communal care, deserve to be included in our vision of justice.

Even if we don’t launch campaigns for Ahed, it is impossible for us to escape her call to witness the mass debilitation, displacement and dispossession of her people.

As Nelson Mandela said, “We know too well that our freedom is incomplete without the freedom of the Palestinians.”

The views expressed in this article are the author’s own and do not necessarily reflect Al Jazeera’s editorial policy.


I learned rebellion living in a religious boarding school

Eric Dupond-Moretti : « Etre en pension chez les curés m’a appris la rébellion »

Propos recueillis par Catherine Vincent

La Matinale du « Monde » a rencontré l’avocat pénaliste, célèbre pour le nombre record d’acquittements qu’il a obtenus aux assises.

Il vient de publier « Directs du droit », un réquisitoire contre les dysfonctionnements de l’institution judiciaire.

LE MONDE | En savoir plus sur

image: Dupond-Moretti au tribunal de Bobigny, le 29 janvier 2015.

Je ne serais pas arrivé là si…

C’est une question qui me taraude depuis peu. Comme Monsieur Jourdain fait de la prose, j’étais avocat sans savoir pour quelle raison j’avais choisi ce métier.

Je rentre dans une période de ma vie qui est un peu particulière, parce qu’il y en a moins à faire que ce qui a déjà été fait.

Il y a une époque où l’on fixe seulement la route devant soi, il y en a une autre où on est obligé de regarder dans le rétroviseur pour faire les bons choix. Il paraît que ça s’appelle la crise du middle age

Le bon choix, ce fut celui de vous séparer de votre épouse il y a quatre ans, de venir à Paris et d’y vivre aujourd’hui avec votre nouvelle compagne, la chanteuse Isabelle Boulay ?

Bien sûr. Le changement majeur, c’est dans ma vie privée qu’il vient de se produire. Ce n’était pas prévu.

On s’ancre soi-même dans des habitudes qui sont parfois plus confortables, même si elles ne correspondent plus à nos aspirations. Il faut avoir le déclic.

Cela peut-être une rencontre ou une prise de conscience. Je suis en train de lire le bouquin d’un psychiatre qui explique que, durant une grande partie de sa vie, on ne fait qu’obéir – à ses parents, à l’instituteur, au professeur, aux codes sociologiques qui sont les nôtres. Et qu’à un moment, on a envie de se réaliser complètement.

Pour moi, c’est maintenant. Il faut parfois du courage.

Il m’en a fallu pour quitter Lille et venir à Paris, où j’ai ouvert mon cabinet en janvier 2016.

J’ai fait toute ma carrière à Lille, cela a été ma vie. Cela ne l’est plus. Je n’en ai pas la nostalgie, absolument pas. Mais c’est un bouleversement.

Vous n’aviez jamais vécu à Paris auparavant ?

J’y étais très souvent pour mon boulot. J’ai passé la moitié de ma vie à l’hôtel. Voilà, par exemple, quelque chose que je ne veux plus faire. Le prix de la solitude y est trop élevé :…

En savoir plus sur

A 19-year old fashion graduate posted her year achievements…

An awesome year!!! And more to come….
Adrea Choukeir's photo.

Adrea’s 2013 Year in Review
Check out Adrea’s biggest moments from the past year.

Revealed: sketches that show the inspiration for Banksy’s ‘alternativity’ in Bethlehem

. Sunday 17 December 2017

The traditional stage is familiar from thousands of primary school Christmas celebrations. Mary kneeling by a manger, angels with haloes on sticks, a diminutive king with an outsized crown.

But behind the actors and audience loom the menacing concrete slabs of a vast barrier wall, (Wall of Shame, making Palestinians invisible to Israelis) and the spotlights of the stage are augmented by searchlights from a watchtower housing snipers and machine guns.

The sketch, published exclusively in the Observer, is part of the latest Palestinian territories project by Banksy, the anonymous but ubiquitous street artist who has spent more than a decade travelling to both the West Bank and Gaza to make art and occasionally stir up controversy.

This Christmas, he teamed up with the Oscar-winning director Danny Boyle ( Slumdog Millionaire director) and Palestinian Riham Isaac to stage a nativity play in the shadow of Bethlehem’s barrier wall, the type of playful but highly political art that has become his trademark.

The one-off performance of an “alternativity”, with angels who send their tidings of joy through text message rather than personal visitations, was watched mostly by local families and journalists.

But a documentary about the project will run on BBC2 on Sunday evening, bringing a much larger audience for the play and the questions it raises about what the Christmas message of peace means in a region mired in conflict.

Banksy rarely talks about the motivation behind his work but the sketch of the stage and a series of other images shown here for the first time give some clues to his inspiration and the evolution of his artistic plans.

Evolution of Cherub Wall by Banksy in Bethlehem.
 Evolution of Cherub Wall by Banksy in Bethlehem. Photograph:

One set shows how he planned a prominent new artwork for the wall. The first is just jottings on a photograph, showing his first thoughts on location and shape; then a pencil sketch on tracing paper gives a better sense of the design, two cherubs trying to prise apart concrete panels with a crowbar.

In the final piece, one angel hides its face behind a bandana, and the other wears a beanie.

They floated just over the mock security gate that the audience had to pass through for the evening’s show, after the Palestinian co-director asked for Banksy to replace a looming Trump mural.

In another black-and-white sketch, a shepherd stands outside his modest hut, gazing at a sprawling maze and the looming barrier wall that hides his destination, a small mosque. It is perhaps a nod to the many daily frustrations and humiliations of life in the Palestinian territories, where the wall is just the most obvious physical manifestation of the restrictions the residents face, which Boyle explores in the film.

In a third drawing, tourists stream out of buses into the nearby Church of the Nativity, turning their backs on the wall – and the Walled Off hotel Banksy opened beside it. A final map shows borders of Gaza and the West Bank replaced by barrier walls.

Banksy convinced Boyle to fly out to Bethlehem to direct the play, probably one of the smallest productions the Slumdog Millionaire director has worked on in decades.

The Bristol-born artist presumably hoped that the combination of his name, Boyle’s reputation and the unusual nativity show itself would attract the kind of viewers who would not normally settle down to an hour-long programme about the Israel-Palestine conflict on a Sunday evening.

Whatever his reasons for taking part, Boyle was an inspired choice. Engaging and honest about how little he knows about the region, he takes the viewer with him on an exploration of the restrictions and indignities of life in Bethlehem and other parts of the West Bank.

The documentary is also honest about Palestinian ambivalence towards Banksy, his hotel and his latest project, which stops it from feeling like part of the vast publicity machine that has turned the artist into a virtual industry.

At the start of their collaboration, Isaac warns Boyle that they may struggle to find actors, or even an audience, for the play.

Palestinians find the barrier menacing and try to stay away, and parents worry about spending an evening near a wall whose very existence some have tried to hide from their younger children.

Just before the performance, Banksy left another Christmas message on a doorway nearby. “Peace on Earth”, with a Christmas star beside it, noting that “terms and conditions apply”.

The sketch, published exclusively in the Observer, is part of the latest Palestinian territories project by Banksy, the anonymous but ubiquitous street artist who has spent more than a decade travelling to both the West Bank and Gaza to make art and occasionally stir up controversy.

This Christmas, he teamed up with the Oscar-winning director Danny Boyle and Palestinian Riham Isaac to stage a nativity play in the shadow of Bethlehem’s barrier wall, the type of playful but highly political art that has become his trademark. The one-off performance of an “alternativity”, with angels who send their tidings of joy through text message rather than personal visitations, was watched mostly by local families and journalists.#AndiVincent

Danny Boyle’s BBC Two documentary explores the problems he encountered directing the artist’s contemporary reworking of the Christmas story

Who is this young musician from Beit-Chabab, Lebanon?

He has added another branch of his Sodico Music School.

غسان يمين: الشاب الذي يسبح عكس التيار ويعيش السعادة –Annahar Newspaper | جريدة النهار – Ecole des Arts Ghassan Yammine

غسان يمين يضيف فرعاً جديداً في معهده في السوديكو: من هو الشاب الذي يسبح عكس التيار ويعيش السعادة؟


6 آذار 2014

“غربته” الاختيارية عن كل ما له علاقة بالسلبية، قصة تروى. قدرته على ابتكار مناسبة لـ”استحضار” السعادة في كل دقيقة، “غير معرّضة لرياح الواقع العاتية”. واصراره على وضع التفاؤل على افضل المقاعد في “ردهة يومياته”، معد… ما يجعل اللقاء مع غسان يمين صاحب “معهد غسان يمين للفنون” اقرب الى التحدي، اذ لا مكان للتذمر والنواح في حياته.

يضحك معلقاً، “بكل بساطة، وعلى المستوى الشخصي، انا انسان ايجابي ومتفائل باستمرار. كسائر الناس اواجه مشكلات، لكن المفارقة ان ايماني بهذا البلد كبير”. وفي حين ردد كثر من حواليه كلمة “مجنون” عندما علموا بآخر مشاريعه في ظل الظروف الحالية التي يعيشها البلد، لم يبال يمين وها هو يزود فرع السوديكو اختصاصات جديدة، منها “المسرح والرقص والمسرح الغنائي والتصوير الفوتوغرافي، الى العلاج بالموسيقى”.

ايمانه القوي بالبلد يعود، على قوله، الى بداياته، “فعندما درست في باريس كانت كل الفرص متاحة لي كي ابقى في الخارج، ولكن فكرة تأسيس هذا المعهد كانت المحرك الاساس لأعود، وكان الهدف تقديم افضل نوعية”. وفي ظل الوضع الراهن في البلد، “صرت اكثر قناعة بطريقة تفكيري. من المستحيل ان اقدم البلد لأناس لا يؤمنون به. في ظل الوضع الراهن التحدي يتضاعف”. هو على يقين من ان عشرات مدارس تقفل ابوابها، “وها انني اليوم افتتح فرعا جديدا في السوديكو، فضلاً عن تزويده حملات اعلانية.

يقولون باستمرار على مسمعي: مجنون ولكن: هذا راسي. لبنان، انا اعمل فيه وكأنه جنيف”.
غسان يمين، الذي لا يعرف اليأس ولا يرضخ لخيبات امل محتومة، يعيش، على قوله، في عالمه الخاص، بمعنى انه غير متصل بالسلبيات التي تدور حوله. “وكل العاملين معي يتبعون نمط التفكير الذي اعيشه طقساً يومياً. هم يتصرفون وكأن هذا المشروع الفني الضخم هو في الواقع مشروعهم الشخصي. اقول لهم عندما يصرون على البقاء في المكاتب حتى ساعات متأخرة من الليل: خلص، فلّوا على بيوتكن. شرّجوا بطارياتكم، عيشوا حياتكم، ولكنهم يبقون في المكاتب. اخلاصهم يعطيني الدافع لأستمر!”.
هواياته كثيرة،

“ربنا اعطاني نعمة النوم فقط لأربع ساعات لا احتاج الى اكثر منها. بطارياتي هلقد بس بحاجة لوقت ليتشرجو”. نهاره يبدأ الساعة السابعة صباحاً، يستهله، وفق قوله، “بممارسة الرياضة طوال ساعة ونصف الساعة، كل يوم، ضروري هيدا الموضوع. الى العزف على البيانو لأنتقل بعدها الى الاجابة عن الرسائل الالكترونية التي تصلني. ولأنني اسافر كثيراًن احرص على متابعة آخر النشاطات الفنية والثقافية في كل بلد أزوره وان كان وقتي ضيقاً. كل شهر عندي سفرة، وهذه النشاطات تزودني الثراء الداخلي. غنى داخلي جنوني!”.
التعب، “لا اعرفه اطلاقاً. وذلك يعود الى التوازن الذي خلقته في حياتي. الشق الشخصي يلعب دوراً كبيراً في حياتي، ومن خلاله أقف على مسافة من العمل اليومي كي احافظ على اللذة في العمل، كي لا اغرق في التفاصيل، فأحافظ على الرؤية الشاملة للأمور”.

يعلّق ضاحكاً، “أنا نوع من آلة لتوليد الأفكار. احياناً استيقظ بعد ساعة واحدة من النوم بفعل فكرة لمعت في رأسي. يعني بكون نمت بس ساعة”. ولكن الحق يُقال، وحتى يمّين الذي يعيش سعادة تترك أثرها على وجهه باستمرار، يمرّ احياناً بلحظات عابرة من القلق، أو لنقل انه، “أشبه بمرحلة فراغ فكري. وقد شعرت به للمرة الاولى في حياتي في الصيف المنصرم. حسّيت بنوع من هاوية امامي. قلت في قرارة نفسي: هل تراني اصل الى مرحلة من اليأس من جراء ما يحصل في البلد؟ ولكن ساعدني هذا الفراغ الموقت كي أعيد النظر بكل ما قمت به حتى الساعة”.

ولكن أي قلق عابر قد يكون يمّين شعر به، سرعان ما تحوّل الى “رد فعل عكسي، وقررت ان اكمل طريقي في وضع الثقافة في وجه الارهاب. حتى وسط الانفجارات. مرحلة الفراغ العابرة هذه اعطتني Push مش طبيعي!”.
هل يمكن ان يعيش يمّين اللاشيء في نهاره؟، “صعبة! الوقت الوحيد الذي لا اقوم به بأي نوع من العمل الجسدي يكون اثناء قيادتي السيارة، وحتى في ذلك الحين أكون منهمكاً بالأفكار التي أطبخها في رأسي”.
كيف يتفاعل الذين يشاطرونه حياته مع هذه الحيوية الأكبر من الحياة؟، سؤال ضحك يمّين مطولاً قبل الإجابة عنه،

“في حياتي صديقة وهي تعرف منذ البداية أنا شو! وأنني احياناً لا استطيع ان اراها لأنني اكون مشغولاً بالأفكار التي تنطبخ في رأسي. وفي حياتي عائلتي، لطالما كان أهلي سنداً كبيراً بالنسبة لي. أحلى أم وبيّ ممكن يخلقوا بالحياة. أعطوني اجمل ثقافة ممكنة. أكبر دعم كي أحقق احلامي منذ طفولتي”.
كان عمره 4 سنوات عندما قال لهم، “بدّي اعمل ممثل. وكانت النتيجة دراستي للاخراج المسرحي لاحقاً”. وكان في السادسة عندما “أعلن” انه يريد دراسة البيانو، وكانت النتيجة دراسة متعمّقة للآلة واصولها لاحقاً. “والدي يملك مكتبة. ترعرعت وسط الكتب والمجلات”. شقيقه، “أهم صديق لي. بموت فيه. لديّ عائلة احمد الله عليها”.
مشكلته الأبرز في الحياة،

“عدم قدرتي على اخذ اي شيء من احد او طلب اي شيء. أدير مؤسستي (بعشرات الفروع) بمفردي. المسؤولون الذين يُكرّمون جهودي يقولون باستمرار: طلوب شي! ولكنني إذا أردت ان اطلب شيئا فهو يكون لغيري”. ولكن السعادة حاضرة في كل اللحظات، “أشعر بالسعادة كل دقيقة وعلى رغم الظروف. من المستحيل ان تلتقي بي وأنا مكشّر أو في حالة عصبية. همومي ومشاكلي لي وحدي، ولا انقلها ابداً الى العالم. أملك القدرة على طحن المشكلة بمفردي في رأسي”. و”بيناتنا”، “أنا كتير كتوم. ما بيطلع مني شي.

لا أعلن عن مشاريعي قبل ان انجزها”.
يومياته، “تتميز بتنوع هائل. لا أعرف الرتابة. من الرياضة الى العزف على البيانو، الى الشق الاداري في المعهد وفروعه، وصولاً الى التعليم الذي امارسه بشغف، وبعده الشق الشخصي الذي هو بمثابة المتنفس الكبير. أنا محاط بأشخاص اعيش الى جانبهم الفرح. لا اقدر ان اعيش مع اي شخص يفتقد الى الحس الفكاهي. ما بتظبط معي الذبذبات السلبية. متل الهمّ على القلب! هؤلاء الذين يتذمّرون باستمرار على شكل: ما عندي حظ، وفي انفجارات… هودي ماكسيموم دقيقة بعطيٌ من وقتي!”.

This photo is not related to the topic, but can be appreciated in all subject matters.




January 2018
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