Zuma Al -Lami … Prison, History of Exile and Killers

The sixties of the twentieth -century, the new Arab novelist appeared, its model Nagub Mahafouge, “The Thief and the Dogs”, the third two things. Well -known Iraqi critic D. The late Iraqi writer Zuma al -Lami (Al -Shark Al -Awatt: April 22, 2025) stopped them in his commemorative article. The first is his first story book, “Hoor Hook Zuma Al -Lami”, which is a collection of stories, not a novel, and he is the pinnacle of al -Lami experience in prison. The second is the phenomenon of expulsion and boycott from Iraq. Al -Musavi used this action to “select” the boycott; The truth is that no one in this Iraq, like all the Arab countries, chooses deportation. These two references are the right entrance to the different world of Lami in the case of the short story and Iraqi novel, and not only in the context of its sixty -generation. Zuma al -Lami’s lyrics have left an important indication of Al -Moosavi for a basic thing that depends on the basic subject of the literature (2004), which is known as the “Transit Writing” of the criticism of the critic. In the “text” of al -Lami, as Al -Musavi says, there is no pure story, and there is no pure poetry, there is free writing about the burden of ready literary sayings. This is an eloquent indication, no doubt.

Killer stories

Here we are talking about the emergence of the new Arab novel writer at the beginning of the sixth decade last century. His model/ his first verse is the famous novel of Nagub Mahafouse “The Thief and Dogs: 1961”. And the novel has launched a new platform in the “narrative”, which is called quick or polite with the word “philosophical phase”, which is not as we argue here; It can be called “the story of the murderer” or “the murderer”, which has taken the autopsy “personal” or “shift” to the Arab ruler, in cases where he has changed his relationships with his manufacturer’s colonial forces for decades.

The narrative of the murderer is very different, then, from the police narrative; It does not participate in the “exposure” of the assassin’s “exposure”, but it is completely busy to build a personality of the killer in the articles saturated with the logic of suspicion, doubt and conspiracy, and it is a completely different world, from the logic of the police novel, the story of the story and the invention of the killer. In Iraq, the sixties generation, in particular, had to do this different work in the history of Iraqi and novel; The main policies of the guidance fifty -generation, for example, have a basic contribution to establishing a neighboring narrative to establish a neighboring narrative, which are called “February Hell Novel”, which are different from the unknown limit from the principles of the murderer, and the principles of murder. The late writer Zuma Al -Lami has a prominent place in both fields. Iraqi criticism from time to time, at Sixtival Experience, poetry and narrator, and it is regularly talking about the books of Arabic rhetoric, and it is regularly talking about the texts and stories, between its advance, its pre -culture, and its culture and its culture, and its culture and its culture. There is no research logic of receiving it. In the dictatorship covenant, especially in the half of the seventies and the eighties, silence or neglect, and the ban is prevalent in the process of al -Lami’s texts. No wonder; The form of narrative, then the logic of writing in the texts of Al -Lami, has allegations of confrontation.

Big question: Who killed Al -Shami’s knowledge? “Whoever kills the knowledge of Al -Shami”, let’s start from his group, especially from the logic of the same query to know the personality of the murderer. We can say that these stories of Al -Lami have a really different and unique situation, which is not equal to others in the case of a short story except for the source of Kuwait writer Iraqi, and Kuwait is talking about its ruling. Blue, lightweight wetlands and rope. “It is different in terms of narrative and that it is only those who have read the author and his texts. In short, authorized writers are not arrested because they are written in different and unknown forms. But there is a question of allegedly accused in the form of a different narrative, because the authority and its cultural or literary representatives are initially alleged to be allegedly accused of assassination, and in the form of a” killer ” It is an unknown thing to the Iraqi story, especially with the fact that the “February AC stranger” is an advertisement, and even a statement of the “killing” case.

The reader can grow with these stories with the main questions that have principles with the principles of the allegations that have been raised at the level of the form of a particular narrative form, and the contented circulation and literary literature of the popularity and popularity of the victims, which ends with these stories, with the principles of the allegations announced during my problem. Here’s about the logic of the question repeatedly: “Who killed?” Just as I recover the documentary principle against the power logic of trying to waste the “blood” of the dead person and innocate the murderer from his crime. Documentation does not respond here, away from the desire to write a “history” article for “Killers”. For example, “The Night in the Chamber of Miss (M)”, “The Blind Documents”, “Drunken Kharabat, Maya Bin Bin Binhban Bin Deer, Deer Al -Sacran”, “Al -Shami’s Knowledge” “And” Ibrahim al -Rabi “, then”

Here I would like to stop the three basic stories in the group, and I think this is the lame Destiny and may be behind the fate of his ined -torn characters. It is “whoever al -Sham: killing the knowledge of 1967”, “Hours from the following time, Al -Shami’s Knowledge: 1968”, and the last story “Killers History: 1966”. Like three stories group stories, “The Central Prison of Hilla” and written with a close history. The first and second stories share the facts of Al -Shami’s “killing”, “suicide” or “death”. Al -Shami is making the incident as the beginning of the murder event to list the facts of life; There is no narrative for “wisdom”, but it is “absent” or “late”, and the other two stories looks after the “facts” of his death or suicide. Here, we, about a different story logic that adopts the principles of the article on the facts of the murder, can give some right to those who have started the word of the novel, except that the duties of the two stories are different and in different ways, and in any case when the stories of the group are re -emerging. We remain within the limits of that exciting difference.

In the first story, the problem of “killing” is hiding, which is the central reference of the title; As he built a symbolic story, he was thrown in the name of a woman known as “Vissa”, and her “Shami” mistress, but “a prostitute”, who wears the personality and performance of her “snake”, coexists as “al -Shami”. One of the manifestations of fictitious coding appears by indicating how to kill, and it is achieved here by suicide, as read in a lecture mentioned in the “Memorial Party”; Pilgrimage tells us, “O Comrades … We will meet for a great accident today. One year ago, the knowledge of Al -Shami committed suicide. In the case of the act of investigating the logic of the suicide law, the law of the suicide law, which is justified by the logic of its primary question, is a big question in the case of” al -Shashi “, in a preliminary point. And for “Harmaz”, there is no voice for “wisdom”, there is no accent of witnesses and they see the facts that kill us “, they are” history of killers “.

Now “Who killed Juma Al -Lami”? There is no “incorrect” or “false” in question; There is no great distance from “Friday” to “knowledge”, except “the facts of” Al -Shami “. Juma al -Lami from “killing” again?