Maryam Al Saadi: Life is simply a collection of short stories

How do you differentiate yourself from other writers when presenting contemporary problems?

I believe that literature's essence lies in capturing fleeting moments, the small, often overlooked instances that slip by unnoticed in the rush of life. The writer's task is to gather and present these ordinary moments to humanity, often preoccupied with grand ambitions. I think literature can help us remember the importance of slowing down and cherishing each moment we have.

Some readers believe you named the character Maryam in your book because her experiences reflect your own. Do they?

I often draw inspiration from the present moment, and there might indeed be some overlap between the text and my personal experiences. Writers sometimes incorporate elements of their lives, but in this case, my novel is not an autobiography.

I don't define myself by my name, just as I don't define others by theirs. Names are merely markers—a way to distinguish individuals in civil records. In writing, and in my relationship with myself, I don't think of myself as Maryam. I think of myself as "I," and this "I" encompasses the entirety of my existence.

Indeed, the name Maryam carries deep historical and spiritual significance, most notably as the name of the mother of Prophet Issa (Jesus). But I don't deliberately name my characters; I let them decide for themselves.

For instance, in the story The Tenderness Poured on the Ants in the Street from my second collection, the protagonist is Latifa Rashid. This name just came to me by itself, as I knew no one with that name in real life. Yet, as soon as the idea formed and I began writing, I heard a voice in my mind telling me that this was the story of a girl named Latifa Rashid, and she wanted her story to be told.

Similarly, in The Perforated Tent, the name Asmahan Abdel Moneim came to me as I began writing about a Palestinian teacher suffering the pain of exile and ultimately dying far away from home. Again, I knew no one by that name.

There are many such names across various texts, so why is it that when I use names other than Maryam, no one suggests that I am writing biographies, but when Maryam appears, they assume it's autobiographical? 

This kind of thinking is not only stereotypical but also disappointingly narrow-minded, especially when it comes from educated people. While such assumptions might be expected from the average reader, they are disappointing and absurd when they come from those who should know better.

Do these types of comments bother you?

I personally do not allow either negative or positive feedback to affect me. I don't write for anyone. My sole concern is the text itself, even if it fails to resonate with others—or even with myself. For me, writing is an act of expression—a way to capture the fleeting reflections of sunlight and moonlight on the fabric of daily life.

I feel this is my true mission in life, and I pursue it whenever mood, space, and time allow. I don't care how others perceive my work.

You once said that you focus on the idea more than the identity of the characters. Do you believe that the idea is the most important aspect of a novel, and all other elements serve it?

The idea is unquestionably essential. It is the foundation from which everything else springs. Without an idea, one merely wanders aimlessly, with no clear direction. For me, identity is fundamentally human, regardless of the specific character. While cultural background and environment do shape a character's identity, my goal is to present it through a purely human lens.

Many regard writing short stories as more challenging than writing novels. Do you agree?

I never considered the short story a difficult art form; in fact, I initially thought it was the simplest of all. However, I now understand why it is often seen as challenging. In recent years, after reading many young writers' attempts at short stories, I've realised how daunting it can be.

The difficulty of the short story lies in the ability to distil an idea and event into a confined space. This requires a deep understanding of many things—knowing what is essential, sifting through a flood of emotions to capture the most important, and opening up to the human experience as it intersects with time, place, and events.

When you recognise the significance of a seemingly small human moment—like someone recovering from a stumble in a race where champions boast of their strength—and understand that it is worth documenting, you have discovered the essence of writing. The text itself will determine the artistic form it assumes, whether it takes the shape of a concise short story or a sprawling novel.

What inspired you to group your articles into the Crystal Eyes of Writing collection?

The articles included in Crystal Eyes of Writing are pieces I've published in newspapers and magazines over the years. Ultimately, they represent my writing, and I wanted to gather them into a single volume to make them accessible to those interested in this type of reflective and thematic writing.

I organised them by topic: one section addresses human concerns such as homeland, alienation, extremism, and identity; another explores the search for self; there is a section on life and the philosophy of beginnings; and finally, a section dedicated to art and literature, discussing themes like writing, publishing, cinema, and the advancement of society through these creative expressions.

Many article writers publish collections of their work. What do you think of this practice?

I used to have a negative view of this, believing it made the writer look creatively exhausted. However, I now see this as extremely unfair to the writer. After all, these articles distil the writer's thoughts and reactions to various events across different periods of time.

Periodicals have a short lifespan and reach a limited audience, so why not gather these pieces and republish them in a book? This way, they remain available for readers at any time and place. I personally enjoy reading collections of work, such as those of Ayesha Sultan from the UAE and Dr. Hasan Madan from Bahrain.

Can you describe your writing style and what you enjoy most about writing?

I write articles with the spirit of storytelling, stories with the soul of poetry, and novels composed of short, evocative texts. Ultimately, what matters most to me is the act of writing itself. Often, I find satisfaction in brief posts on Facebook, capturing an idea that comes to me in a fleeting moment.  

Writing has offered me a wealth of experiences, enriching my life, deepening my human connections, and allowing me to encounter richly textured characters I might never have known without the pen as my guide.

As I travel to different places, I carry my small texts, sharing them with the world in various literary gatherings. Writing has given me a profound sense of what it means to be a person with thoughts, opinions, and vision.

If I find myself becoming too distracted by life, I go to my library and immerse myself in reading. Eventually, I sit down to write something new, hoping to reclaim my spirit, which often gets lost in the grind of daily life.

Writing has given me my identity, name, voice, perspective, and even the contours of my being. It is a chicken soup for the soul whenever I'm feeling down.