Naguib Mahfouz
Naghib Mahfuz
نجيب محفوظ
The mother and the two girls went at once to the balcony. They stood at the window overlooking al-Nahhasin Street to observe throught the holes of its wooden grille the men of the family on the street.
Palace Walk, Naguib Mahfouz
La madre e le figlie si affrettarono per raggiungere la mashrabiyya, appostandosi dietro la griglia che dava sulla via el-Nahhasin per vedere, attraverso gli orifizi del legno, gli uomini della famiglia in cammino per la strada.
Tra i due palazzi, Naghib Mahfuz
و بادرت الأم و الفتاتان إلى المشربية و وقفن وراء شباكها المطل على النحاسين ليرين من ثقوبه رجال الأسرة فى الطريق
بين القصرين، نجيب محفوظ
On subjects outside religion, their disputes were not infrequent. For example, they differed once about whether the earth rotates on it’s own axis in space or stands on the head of an ox.When she found the boy insisted, she backed down and pretended to give in.All the same, she slipped off to Fahmy’s room to ask him about the truth of the ox supporting the earth, and whether it still did.The young man thought he should be gentle with her and answer she would like. He told her that the earth is help up by the power and wisdom of God. His mother left content with this answer, which pleased her, and the large ox was not erased from her imagination.
Palace Walk, Naguib Mahfouz
Ma, fatta eccezione per la religione, se vi erano validi motivi, le controversie non erano rare. Una volta, si erano trovati in disaccordo a proposito della terra: se essa ruoti attorno a se stessa nello spazio oppure poggi sulla testa di un toro. Siccome trovo ostinazione nel ragazzo, la ramare recedette fingendo di arrendersi. Ma poi entrò di nascosto nella camera di Fahmi per chiedergli se fosse vero che un toro reggesse la terra e se continuasse ancora a farlo. Il ragazzo ritenne opportuno trattarla con riguardo e, adoperando un linguaggio che a lei piaceva ascoltare, le assicurò che la terra è sospesa nello spazio grazie alla potenza e alla saggezza di Allah.
Tra i due palazzi, Naghib Mahfuz
أما فيما عدا الدين فلم يكن النزاع إذا تهيأت أسبابه، من ذلك أنهما اختلفا مرة عن الأرض وهل هى تدور حول نفسها فى الفضاء أو تنهض على رأس ثور، ولما وجدت من الغلام إصرارًا تراجعت متظاهرة بالتسليم، ولكنها تسللت إلى حجرة فهمى وسألته عن حقيقة الثور الذى يحمل الأرض وهل مازال علي عهده يحملها. ورأى الشاب أن يترفق بها و يجيبها باللغة التى تحبها فقال لها هن الأرض مرفوعة بقدرة الله و حكمته.
بين القصرين، نجيب محفوظ
Al-Sayyid Ahmad rose too. He stretched out his hand to take hers. He spread open her palm tinted with henna and looked at it with desire and fascination. He kept on holding it even after she tried repeatedly to withdraw it. Finally she pinched his fingers and raised her hand to his mustache. She shouted menacingly to him,“Let go of me or you’ll leave my house with only half a mustache.”
Palace Walk, Naguib Mahfouz
Il sayyed si alzò a sua volta, allungò la mano e afferrò quella di lei; ne aprì il palmo tinto di henna e la fissò con desiderio esperto. Si ostinò a trattenerla nonostante ella cercasse di ritirarla per ben due volte. Ma la donna finì per mordergli il dito e, sollevando la mano verso i suoi baffi, gridò minacciosa: “Lasciami o uscirai dalla mia casa con mezzo baffo soltanto!…”.
Tra i due palazzi, Naghib Mahfuz
و نهض السيد بدوره، ومد يده فتناول يده فتناول يدها ثم بسط راحتها المخضبة بالحناء، ورنا إليها الشوق وافتنان، وأصر على احتفاظه بها رغم جذبها مرة ومرتين، حتى قرصته فى أصبعه ورفعت يده إلى شاربه مهددة:- دعنى أو تخرج من بيتى بفردة شارب واحدة.
بين القصرين، نجيب محفوظ
Although he was resolved and determined to clear the past from the stage of the present and retain control of his mind and his wits, the discarded past threw dark shadows on the surface of his heart, like a fly brushed away from the mouth with has left behind infectious germs.
Palace Walk, Naguib Mahfouz
Ma, benché volgesse con forza e determinazione la propria volontà a liberare all’istante il campo dai ricordi del passato, per ritornare padrone dei suoi pensieri e dei suoi giudizi, il passato, pur respinto, gli riverberò nel cuore una nera, fitta nebbia, come una mosca che viene scacciata dalla bocca non prima di avervi lasciato un microbo che vi si propagherà.
Tra i due palazzi, Naghib Mahfuz
ومع إنه وجه إرادته بعزم وتصميم حكمته إلى اخلاء المسرح من الماضى المطرود انعكس على على صفحة قلبه ظلالا قاتمة كذبابة نشت عن الفم بعد ان خلفت وراءها جرثومة تسرى.
بين القصرين، نجيب محفوظ
“It’s another kind of fragrant vine that’s wound itself around his leg.”
Palace Walk, Naguib Mahfouz
“È un’edera di tutt’altro tipo che gli ha afferrato la gamba a quello là!”.
Tra i due palazzi, Naghib Mahfuz
- انه اللبلاب الآخر الذى التف حول ساقه هو.
بين القصرين، نجيب محفوظ
Aisha rushed at her like a chicken without a head.
Palace Walk, Naguib Mahfouz
Aisha allora si precipitò verso di lei come una gallina sgozzata.
Tra i due palazzi, Naghib Mahfuz
فهرعت عائشة إليها كدجاجه مذبوحه.
بين القصرين، نجيب محفوظ
![He was extremely perplexed and for the first time ever suffered from that illness native to the human soul known as boredom [...] “What more does any woman want than a home for her own and sexual gratification? Nothing! Women are just another kind](https://images.squarespace-cdn.com/content/v1/5465187be4b0a7297c6fe497/1545994468984-9M0K2H0QDX0VTH9L2GJW/33+copy.jpeg)
He was extremely perplexed and for the first time ever suffered from that illness native to the human soul known as boredom [...]
“What more does any woman want than a home for her own and sexual gratification? Nothing! Women are just another kind of domestic animal, and must be treated like one.Yes, other pets are not allowed to intrude into our private lives.They stay home until we’re free to play with them. For me, being a husband who is faithful to his marriage would be death. One sight, one sound, one taste incessantly repeated and repeated until there’s no difference between motion and inertia. Sound and silence become twins.... No, certainly not, that’s not why I got married....
Palace Walk, Naguib Mahfouz
Era afflitto, con estrema confusione e per la prima volta, da quella malattia endemica dell’animo umano: la noia. […] ‘
Cosa desidera, una qualsiasi donna, al di fuori della casa e della soddisfazione sessuale? Nulla! Le donne sono animali domestici e come tali bisogna trattarle! Sì, non è permesso agli animali domestici invadere la nostra vita privata; e così le donne devono aspettare a casa che i mariti siano liberi di amoreggiare con loro! Essere un marito dedito con la lealtà alla vita coniugale equivarrebbe per me alla morte. Sempre lo stesso aspetto, la stessa voce, lo stesso gusto… sempre ripetuto… sempre ripetuto, finché movimento e immobilità non diventano identici, rumore e silenzio non diventano gemelli… No, no, non è per questo che mi sono sposato!…’
Tra i due palazzi, Naghib Mahfuz
كان يعانـى فـى حيـره بالغـة ولأول مـرة فـى حياتـه ذاك المـرض المتوطـن فـى نفـس الإنسـان الممـل.
فيــم تطمــح أالبيــت الزوجــى والارتــواء الجنســى؟!.. لا شــىء!.. انهــن حيوانــات أليفــة كالحيوانــات الأليفــة ينبغــى أن يعاملــن، أجــل لا يجــوز للحيوانــات الأليفــة ان تتطفــل علــى حياتنــا الخاصـه وإنمـا عليهـا أن تنظـر فـى البيـت حتـى نفـرغ لمداعبتهـا، أن أكـون زوجـا خالصـا للحيـاة الزوجيـه هـو المـوت، منظـر واحـد و صـوت واحـد و طعـم واحــدلا تــزال تتكــرر و تتكــرر.. حتــى تنقلــب الحركــة و الجمــود ســيين، والصــوت و الصمــت توأمــين، كلا كلا، مــا لهــذا تزوجــت.
بين القصرين، نجيب محفوظ
“It’s not Yasin and his likes or dislikes that concern us. He can love places of amusement all he wants or continue to stay out until dawn whenever he wants, but to take his cloistered wife with him is an idea that could not have originated with him. Perhaps it came up because it was obvious he wouldn’t be able to resist, especially now that he’s so docile, like a house cat in her arms.
Palace Walk, Naguib Mahfouz
“Non stiamo parlando di Yasin e delle sue inclinazioni! Può amare i luoghi di divertimento come più gli piace e continuare a stare fuori casa fino all’alba ogni volta che ne ha voglia; ma portare con sé la casta moglie è un’idea che non è potuta venire solo da lui, ma senz’altro da un suggerimento al quale è stato incapace di opporsi poiché ha tutta l’aria di essere sottomesso a lei come una gatta domestica.”
Tra i due palazzi, Naghib Mahfuz
- لسـنا بصـدد الحديـث عـن ياسـين و ميولـه، لـه أن يحـب الملاهـى كمــا يحلــو لــه، أو أن يواصــل الســهر فــى الخــارج حتــى مطلــع الفجركلمــا شــاء، ولكــن اصطحــاب زوجــه المصــون معــه فكــرة لا يمكـن أن تصـدر عـن ذاتـه فلعلهـا جاءتـه عـن إيحـاء عجـز عـن مقاومتـه خصوصـا وأنـه يبـدو مسـتكينا بـين يديهـا كالقطـة الأليفـة.
بين القصرين، نجيب محفوظ
“Amazing news is spreading among the students.Today it was all we talked about. A delegation or ‘wafd’ composed of the nationalist leaders Sa’d Zaghlul Pasha, Abd al-Aziz Fahmy Bey, and Ali Sha’rawi Pasha went to the British Residency in Cairo yesterday and met with the High Commissioner, requesting that the British protectorate over Egypt be lifted and independence declared”. [...]
“How can we expel them?”
Palace Walk, Naguib Mahfouz
“Oggi una notizia straordinaria circolava fra gli studenti ed è stata oggetto di conversazione per tutta la giornata: una delegazione egiziana composta da Saad Zaghlul pascià, da Abd el-Aziz Fahmi bey e da Ali Shaarawi pascià si è recata ieri alla sede del protettorato e ha incontrato il viceré per chiedere l’eliminazione del protettorato e la proclamazione dell’indipendenza…” […]
“Ma come facciamo per cacciarli?”.
Tra i due palazzi, Naghib Mahfuz
ذاع بــين الطلبــة نبــأ عجيــب كان حديثنــا اليــوم كلــه وهــو أن وفــدًا مصريـا مكونـا مـن سـعد زغلـول باشـا و عبـد العزيـز فهمـى بـك و ّعلـى شـعراوى باشـا توَّجـه أمـس إلـى دار الحمايـة و قابـل نائـب الملـك للمطالبــه برفــع الحمايــه وإعــلان الاســتقلال.. وكيف لنا بأن نخرجهم؟
بين القصرين، نجيب محفوظ
The street in front of al-Sayyid Ahmad’s store did not look any different, for it was crowded with pedestrians, vehicles, and customers of the shops crammed along either side. Overhead there was a decorative, misty quality to the light. It was a pleasant November day and the sun was obscured by thin clouds.There were pure white billows resembling pools of light ove Qala’un and Barquq minarets. [...]
Everything was proceeding as usual, as though nothing had happened, as though Egypt had not been turned upside down, as though bullets were not searching for chest and heads, as though innocent blood was not enriching the earth and walls.
Palace Walk, Naguib Mahfouz
La strada, davanti alla bottega del sayyed Ahmad, appariva, come al solito gremita di passanti, di vetture e di frequentatori delle varie botteghe accalcate le une sulle altre da entrambi i lati: solo che il cielo si era adornato della trasparenza raffinata del dolce clima di novembre, con il sole velato da nuvole sottili i cui lembi, di un bianco candido, brillavano sopra i minareti di Qalawun e di Barquq come laghi di luce. […]
La vita familiare procedeva normalmente, come se non fosse accaduto nulla, come se l’Egitto non fosse sottosopra, come se i proiettili non fischiassero alla ricerca di petti e di teste…, come se il sangue innocente non tingesse la terra e i muri.
Tra i due palazzi, Naghib Mahfuz
بدا الطريق أمام دكان السيد - كعادته - مكتظا بالسابلة والمركبات ورواد الدكاكين المتراصة على الجانبين إلا أن هامته إزدانت بشفافية مقطرة من جو نوفمبر اللطيف الذى حجبت شمسه وراء سحائب رقاق لاحت رقاعها ناصعة البياض فوق مآذن قلاوون و برقوق كأنها بحيرات من نور. كل شىء يواصل حياته المعهودة كأن شيئا لم يحدث ، كأن مصر لم تنقلب رأسا على عقب، كأن الرصاص لا يعزف باحثا عن الصدور والرءوس.. كأن الدم الزكى لا يخضب الأرض والجدران.
بين القصرين، نجيب محفوظ
He found his father sitting on the sofa with his legs tucked under him. He was fiddling with his prayer beads, and the look in his eyes was sad and thoughtful.
Palace Walk, Naguib Mahfouz
Trovò il sayyed seduto a gambe incrociate sul divano che giocherellava con i grani del rosario, con lo sguardo che esprimeva triste riflessione.
Tra i due palazzi, Naghib Mahfuz
وجد السيد متربعا على الكنبة يعبث بحبات سبحته و فى عينيه نظرة تنم عن تفكير كئيب.
بين القصرين، نجيب محفوظ
“Then break every link between you and the revolution.... Even if your role was limited to distributing handbills to your best friends.”
No power in existence could come between him and his patriotic duty. He absolutely would not retreat even one step.The time for that had passed, never to return. This passionate, dazzling life, springing from the depths of his heart and illuminating every area of his soul, could not die away. How preposterous could he not find some way to please his father and escape his wrath?
Palace Walk, Naguib Mahfouz
“Allora taglia ogni rapporto con la rivoluzione…, anche se il tuo compito si limita a distribuire volantini agli amici più cari!”.
Ma nessuna forza al mondo poteva frapporsi fra Fahmi e il suo dovere verso la Patria. Egli non avrebbe indietreggiato neppure di un solo passo! Il tempo in cui avrebbe ancora potuto farlo era ormai trascorso. Quella vita ardente, abbagliante, che scaturiva dal più profondo del suo cuore e illuminava i recessi della sua anima, non poteva scomparire e mai e poi mai sarebbe stato lui a spegnerla con la sua stessa mano. Tutto ciò era quanto mai ovvio. Ma perché non cercare un modo per accontentare il padre evitandone anche la collerà?
Tra i due palazzi, Naghib Mahfuz
إذن اقطـع كل صلـه بينـك و بـين الثـوره .. ولـو اقتصـر !دورك علـى توزيـع المنشـورات علـى خاصـة أصدقائـك إن قـوة فـى الوجـود لا يمكـن أن تحـول بينـه و بـين واجبـه الوطنـى!.. لـن يتراجـع مطلقـا ولـو خطـوه واحـده، انتهــى زمــان ذلــك إلــى غيــر رجعــه، إن هــذه الحيــاة الحـارة الباهـرة التـى تنبعـث مـن أعمـاق قلبـه و تضـىء جوانـب نفسـه لا يمكـن أن تغيـض وهيهـات أن يغيضهـا هــو بيــده، كل هــذا حــق لا شــك فيــه، ولكــن لمــاذا لا! يلتمـس وسـيله إلـى إرضـاء أبيـه و تحامـى غضبـه؟
بين القصرين، نجيب محفوظ
Men grieve differently from women.
Palace Walk, Naguib Mahfouz
La tristezza degli uomini è diversa da quella delle donne.
Tra i due palazzi, Naghib Mahfuz
إن للرجال حزنا غير حزن النساء.
بين القصرين، نجيب محفوظ
The waiter brought their dominoes.
Palace of Desire, Naguib Mahfouz
Il cameriere portò il domino.
Il palazzo del desiderio, Naghib Mahfuz
جاء النادل بالدومينو.
قصر الشوق، نجيب محفوظ
![“You’re a camel and as handsome as the full moon.” Palace of Desire, Naguib Mahfouz “Siete ancora giovane!…”. […] “Un dromedario che ha l’aspetto della luna!…” Il palazzo del desiderio, Naghib Mahfuz جمل له طلعة البدر! قصر ا](https://images.squarespace-cdn.com/content/v1/5465187be4b0a7297c6fe497/1545995767963-9OMEMZD2ZDVT9B6RI43G/32+copy.jpeg)
“You’re a camel and as handsome as the full moon.”
Palace of Desire, Naguib Mahfouz
“Siete ancora giovane!…”. […]
“Un dromedario che ha l’aspetto della luna!…”
Il palazzo del desiderio, Naghib Mahfuz
جمل له طلعة البدر!
قصر الشوق، نجيب محفوظ
The children were invited to their grandfather’s room to kiss his hand and receive precious gifts of chocolate and Turkish delight.
Palace of Desire, Naguib Mahfouz
Il sayyed invitò poi i bambini a venire nella camera del nonno per baciargli la mano e prendersi ciascuno il proprio regalo consistente in cioccolatini e malban.
Il palazzo del desiderio, Naghib Mahfuz
ودعى الأطفال إلى حجرة الجد ليقبلوا يده ويتلقوا هداياه النفيسة من الشيكولاطة و الملبن.
قصر الشوق، نجيب محفوظ
Laughter range out from the house. Then the lute in its rose-colored case appeared moments before its owner burst from the house in a gale of laughter. She placed the lute at the front of the wagon.
Palace of Desire, Naguib Mahfouz
…poi, da dietro la porta, risuonò una risata e apparve il liuto in un astuccio foderato di rosa, precedendo la sua proprietaria, la quale venne fuori ridendo animata da un ardore impetuoso. Posò il liuto sul sedile anteriore del carro…
Il palazzo del desiderio, Naghib Mahfuz
ثم رنت ضحكة وراء الباب، ثم برز العود فى جراب بمبى يسبق صاحبته التى خرجت فى نشاط ثوري ضاحكة ثم وضعت العود على مقدم العربة.
قصر الشوق، نجيب محفوظ
Jalila, who occupied the main sofa, was toying with her gold bracelets as if waiting to make them jingle.
Palace of Desire, Naguib Mahfouz
Galila occupava il canapè centrale, giocherellando con i suoi braccialetti d’oro tutta intenta a sentirne i tintinnii.
Il palazzo del desiderio, Naghib Mahfuz
وكانت جليلة محتلة كنبة الصدارة، تعبث بأساورها الذهبية و كأنما تنصت إلى وسوستها.
قصر الشوق، نجيب محفوظ
“The calf’s down,” he told himself.“Go fetch the knives.”
Palace of Desire, Naguib Mahfouz
‘Il vitello è tornato, portate i coltellacci’.
Il palazzo del desiderio, Naghib Mahfuz
العجل وقع هاتوا السكاكين..
قصر الشوق، نجيب محفوظ
‘Any of you men who’s in love with a woman - don't marry her.’ Yes nothing kills love so effectively as marriage. Believe me. I’ve learned from my own experience. I married once and a second time. I know how true this is.”
“Perhaps you haven’t found the woman who’s right for you.”
“Right? What kind of woman would that be? Which of my senses will guide me to her? Where is this woman who’ll never be boring?”
Palace of Desire, Naguib Mahfouz
“Chi di voi ama una donna non deve sposarla”. Sì, perché non c’è altra cosa al mondo che uccida l’amore quanto il matrimonio. Credimi! Ho esperienza: mi sono sposato una prima volta e poi un’altra ancora e non mi sfugge la verità di quello che sto dicendo…”.
“Forse non hai ancora trovato la donna che fa per te…”.
“Che fa per me? E come dovrebbe essere questa donna, e in che modo posso trovarla? Dove si nasconderebbe questa donna che non annoia?”.
Il palazzo del desiderio, Naghib Mahfuz
من يحب منكم امرأة فلا يتزوجها، أجل، لا شىء يقتل الحب كالزواج صدقيني، إني مجرب، وقد تزوجت مرة أخرى و أعرف مدى صدق ما أقول.. لعلك لم تهتدي بعد إلى المرأه التي تناسبك.. تناسبني؟ كيف تكون هذه المرأة؟ وبأي حاسة يهتدي إليها؟ وأين تكون هذه المرأة التي لا تمل؟!
قصر الشوق، نجيب محفوظ
“Isn’t this happiness? A butterfly, like the dawn breeze, saturated in delightful colors, sipping the nectar of the flowers... that I am.” If only this moment could last forever.
Palace of Desire, Naguib Mahfouz
‘Pensaci bene, non è questa la felicità? Una farfalla leggera quanto la brezza del mattino, rivestita di colori gioiosi e intenta a suggere il nettare dei fiori… questo sono io. Se questo stato potesse durare in eterno!’.
Il palazzo del desiderio, Naghib Mahfuz
ما أسعده بهذا المنظر.. هذا الحديث.. هذا الصوت، تأمل أليست هذه هى السعاده؟! فراشة كنسمة الفجر تقطر ألوانا بهيجة وترشف رحيق الأزاهر.. هذا أنا، لو يدوم هذا الموقف إلى الأبد!..
قصر الشوق، نجيب محفوظ
‘Bread and liberty.’ This is the people’s new slogan.
Sugar Street, Naguib Mahfouz
“Pane e libertà!”. Questo è oggi il motto del popolo.
La via dello zucchero, Es-Sukkariyya, Naghib Mahfuz
«الخبز والحرية» هذا شعار الشعب الجديد.
السكرية، نجيب محفوظ
“There’s been enough riding. Pick some other game, by God. God... look at the jasmine and the hyacinth vines. Look at the pigeons.”
Palace of Desire, Naguib Mahfouz
“E smettila con questa voglia di montare… Scegliti un altro gioco. Mio Dio! Mio Dio! Guardate piuttosto i gelsomini e l’edera… Guardate i colombi…”.
Il palazzo del desiderio, Naghib Mahfuz
كفايه ركوب، اختر لنفسك لعبه أخرى، الله، الله.. انظروا إلى الى الياسمين واللبلاب، انظروا إلى الحمام..
قصر الشوق، نجيب محفوظ
Once the viper says yes, I’ll drop her with disdain and relief.
Palace of Desire, Naguib Mahfouz
Dica pure ‘sì’, la vipera, le volterò le spalle con ogni disprezzo e col più totale sollievo…
Il palazzo del desiderio, Naghib Mahfuz
فلتقل الأفعى «نعم» وعند ذلك أعرض عنها بكل ازدراء وارتياح.
قصر الشوق، نجيب محفوظ
“Art is the interpreter of the human world. Besides that, some writers have produced works forming part of the international contest of ideas. In their hands art has become one of the weapons of international progress. There is no way that art can be considered frivolous activity.”
Sugar Street, Naguib Mahfouz
“L’arte interpreta l’universo umano e vi sono personalità che, con la loro arte, hanno lottato per l’affermazione delle idee universali. Nelle loro mani, l’arte si è trasformata in arma di combattimento… quindi non può essere considerata un’attività ‘non seria’…”.
La via dello zucchero, Es-Sukkariyya, Naghib Mahfuz
الفـن هـو المعبـر عـن عالـم الإنسـان، وإلـى هـذا فمـن الأدبـاء مـن أسـهم بفنـه في معركـة الآراء العالميـة، فانقلـب الفـن علـى يديـه عـدة مـن عـدد الكفـاح في ميـدان الجهـاد العالمـي، لا يمكـن أن يكـون الفـن نشـاطا غيـر جـدي..
السكرية، نجيب محفوظ
They removed their fezzes and placed them on the third chair.
Palace of Desire, Naguib Mahfouz
Si tolsero i tarbush e li posarono su un’altra sedia.
Il palazzo del desiderio, Naghib Mahfuz
خل ًعا طربوشيهما ووضعاهما على مقعد ثالث.
قصر الشوق، نجيب محفوظ
He leaned his head back a little as if to allow his large nose to inhale the fragrance of jasmine and henna.
Sugar Street, Naguib Mahfouz
Inclinò leggermente la testa all’indietro, quasi a voler respirare più profondamente il profumo dei gelsomini e del henné.
La via dello zucchero, Es-Sukkariyya, Naghib Mahfuz
وقد مال برأسه إلى الوراء قليلا كأنما ليم ِّكن أنفه العظيم من الارتواء بعبير الفل و الياسمين والحناء.
السكرية، نجيب محفوظ
He was not permitted to get too close to them and suffered terribly because he wanted to play with them or at least touch them.
Palace Walk, Naguib Mahfouz
Rispettava la distanza che non gli era concesso oltrepassare mentre il suo animo si perdeva invariabilmente nel dispiacere di non poter giocare con le armi… di non poter almeno toccarle.
Il palazzo del desiderio, Naghib Mahfuz
يقف على بعد لا يسمح له بتجاوزه ونفسه ذاهبة حسرات على اللعب بها أو على الأقل لمسها.
بين القصرين، نجيب محفوظ
Qarboush - Echoes of Naguib Mahfouz
Qarm Qart enacts a profound reading of Naguib Mahfouz. In the stunning modernity of Mahfouz’s Cairo Trilogy with its sweeping grandeur and evocative detail, Qart sees contemporary Egypt. Palace Walk (Bayn al-Qasrain), Palace of Desire (Qasr al-Shawq), and Sugar Street (Al-Sukkariyya) are starting points for the images Qart stitches onto the tarboush which serves as the canvas for his imagined world.
Qart’s Qarboush - creative works on the tarboush - offers multiple layers of meaning in the interpretation of Egyptian pasts and presents. The tarboush as male headgear is now an historical relic. But what about its symbolic force of national and patriarchal privilege? The artist makes us ponder whether this privilege has gone with the tarboush itself as he ushers us into disquieting yet intriguing spaces. Disruptions and continuities haunt the pinpricks of his Qarboush.
Mashrabiya Contemporary Art Gallery
from 20 May 2018 to 14 June 2018