Preserved or forgotten? homes of Egypt’s literary giants

While the homes of some Egyptian literary titans have been transformed into museums, others remain silent witnesses to a bygone era

AFP

A photo taken on June 24, 2019, shows a huge statue of the late Egyptian writer Taha Hussein inside the Bibliotheca Alexandrina building.

Preserved or forgotten? homes of Egypt’s literary giants

El-Sayed Hussein

last update on 01 Sep 2025

The homes of Egypt’s literary and intellectual giants are far more than mere residences. They are sanctuaries of cultural enlightenment—spaces where some of the seminal works shaping Egyptian and Arab consciousness were born.

Several of these homes have been transformed into museums honouring their illustrious residents. Others, however, remain silent witnesses to a bygone era of creativity, their transformation into memorials or cultural centres hindered by various obstacles.

Preserving these homes is more than an act of heritage conservation; it is a vital extension of the enlightenment these figures once fostered, a legacy that continues to inspire and energise successive generations.

Guardians of memory

Tucked away in quiet alleyways, bustling neighbourhoods or grand villas, the homes of Egypt’s finest literary minds endure as guardians of national memory. Once vibrant spaces of creativity, they served as workshops of thought and arenas for intellectual confrontation. Within these storied walls, enduring novels were written, philosophical disputes played out, and the collective consciousness of generations was moulded.

Despite numerous initiatives to honour these literary icons, through commemorative plaques bearing the words “Here lived...,” or by converting residences into museums, such efforts often arrive too late and become mired in bureaucratic red tape. Many attempts falter due to legal entanglements over property rights, resistance from heirs, or the deteriorating condition of the buildings themselves.

At a time when nations across the globe are actively immortalising their literary icons, transforming their homes into dynamic heritage houses, Egypt, despite its abundant cultural wealth, faces an urgent dilemma: why does it lag in memorialising its authors? Why is their legacy allowed to drift into obscurity?

Between the celebrated museums dedicated to Naguib Mahfouz, Taha Hussein, and Ahmed Shawqi, and the shuttered residences of Yusuf Idris, Salah Abdel Sabour, Ihsan Abdel Quddous, Khairy Shalaby, and Abdel Rahman El-Abnudi, there lies a cultural landscape marked by both pride and neglect.

Taha Hussein’s house

Taha Hussein (1889-1973) lived in several Cairo districts, including Sakakini and Zamalek, before settling permanently in a villa on Helmiya Street, just off Pyramids Street. Known as the ‘Ramatan Villa,’ it became the long-term residence of the ‘Dean of Arabic Literature.’ As part of its efforts to honour prominent cultural figures and in recognition of the lasting significance of their contributions, the Egyptian state, through the Ministry of Culture, acquired the property in 1992 to preserve Hussein’s legacy.

Following extensive deliberations and careful planning, the villa was converted into a museum dedicated to preserving and celebrating the writer’s life and work. On 28 January 1992, a preliminary purchase agreement was signed between Mohamed Hassan El-Zayyat, representing the heirs, and Farouk Hosny, then Minister of Culture. The agreement stipulated that the house would serve not merely as a museum, but as a cultural beacon and international centre for literary and intellectual enlightenment.

The National Centre for Fine Arts developed a comprehensive plan for the site, which included the construction of a modern annexe opposite the main museum. This new facility would house administrative offices, spaces for cultural events, an information centre, and a library, designed to support researchers and literary enthusiasts exploring the legacy of one of the Arab world’s most influential 20th-century intellectuals.

Today, the museum stands as a destination for scholars and visitors alike. It houses Hussein’s private library, the room where he wrote, and an extensive archive of rare documents and photographs, all of which offer an intimate portrayal of his encyclopaedic intellect and distinctive personality.

Every Sunday, Hussein hosted an open salon, a cherished tradition during which he welcomed prominent writers and academics. Professors of Arabic from Cairo and Ain Shams universities were frequent attendees, seeking his counsel and wisdom on both scholarly and academic matters. His home, in essence, functioned as an extension of the university, an indispensable hub of inspiration and intellectual exchange.

It was within these very walls that Hussein penned his iconic memoir The Days, among other masterpieces. The museum meticulously preserves the original furnishings—his expansive desk, the typewriter he used, handwritten notes from his wife, Suzanne, and an array of valuable possessions, including rare books and manuscripts. Spanning approximately 870 sq m, the villa features two floors, each around 250 sq m in size, making it an ideal venue for this national cultural initiative dedicated to safeguarding the literary legacy of one of Egypt’s most revered sons.

AFP — A photo taken on November 7, 2019, shows the office of Egyptian Nobel laureate Naguib Mahfouz at his museum in the Al-Azhar district of Cairo.

Naguib Mahfouz’s apartment

Naguib Mahfouz (1911-2006) lived in various residences over the course of his life. While the Naguib Mahfouz Museum at Tekkeyet Abu El-Dahab, adjacent to Al-Azhar Mosque, now showcases his personal belongings, manuscripts, and letters, it stands today as one of Historic Cairo’s most significant literary landmarks.

In the Agouza district, next to the Police Hospital where Mahfouz spent his final days, sits the building where Egypt’s great novelist lived out his twilight years. A modest plaque affixed to the entrance, part of a Ministry of Culture initiative to honour national cultural icons, reads simply: “Here lived Naguib Mahfouz.”

He lived on the ground floor with his wife, Atiya Abdullah, and their two daughters, Umm Kulthum, known as Huda, and Fatima, in a home once brimming with life, stories, and the scent of old paper.

But as the years passed, the voices quietened, the faces faded. Mahfouz passed away, followed by his lifelong companion. Eventually, even his daughter Fatima’s chapter came to a close. The only remaining family member was his daughter Huda, left alone in a house now filled only with memories.

In an interview with Al Majalla, Huda revealed that she had moved out some years ago. After her father's death, the family had considered converting the apartment into a museum. However, her mother, still residing there at the time, refused to leave. According to Huda, the state never offered alternative accommodation or financial support, and her mother was determined to preserve the home, along with its furniture and mementoes. She also disclosed that after Mahfouz's passing, the Ministry of Culture made no contact with her, not even during the preparations for the Tekkeyet Abu El-Dahab museum. This silence, she said, left her bewildered.

"The apartment where Naguib Mahfouz lived is now in the hands of the building's owners," she noted. "We no longer know anything about it." None of her parents' possessions remains, she added, explaining that the artefacts displayed at the Tekkeyet Abu El-Dahab museum were donated by the family during her mother's lifetime. These include his books, awards, and deeply personal items: a hearing aid, glasses, pen, overcoat, suit, hat, and shoes, all of which were originally kept in the Agouza flat.

It is no exaggeration to say that the heart of Fatimid Cairo beats with the name of Naguib Mahfouz. The museum, set within the historical Tekkeyet Abu El-Dahab, evokes the very atmosphere depicted in his novels, The Cairo Trilogy, Children of Gebelawi, and The Harafish. Here, the scent of antiquity mingles with the presence of his characters, as though one were strolling through the Gamaleya quarter itself, but through Mahfouz's distinctive lens. One might even imagine 'Sayyid Ahmad' sitting quietly in a shadowed corner.

AFP — A picture taken on November 7, 2019, shows a huge poster of Naguib Mahfouz at his museum in the Al-Azhar district of Cairo.

Abbas al-Aqqad's house

The residence of Abbas Mahmoud al-Aqqad (1889-1964), constructed in 1948, stands in the southern Egyptian city of Aswan on a 220sq m plot, where the Nile flows warmly and the skies remain perpetually clear. It was within this tranquil setting that al-Aqqad authored many of his philosophical and critical works, engaging in intellectual and cultural debates that continue to resonate today.

In 2023, Egyptian social media was stirred by a report, circulated by several media outlets, alleging that al-Aqqad's house was being vacated ahead of demolition. The rumour sparked widespread outrage among Egypt's literary and intellectual circles, who voiced profound concern over the supposed evacuation and the potential demolition.

However, Rami al-Aqqad, the late writer's grandson, swiftly refuted the claims, declaring them entirely unfounded. "We haven't received any notice from the governorate or the government regarding this issue," he said at the time, affirming that he continued to live in the house.

Shortly thereafter, Egypt's former Minister of Culture visited the property and issued directives for its restoration and conversion into a museum and cultural-tourism landmark. The plan aimed to honour al-Aqqad's enduring legacy in a manner befitting one of Aswan's most illustrious sons. It included the display of his personal belongings and the extensive library his family had generously donated.

Today, al-Aqqad's home has indeed been transformed into a museum, housing his private library, boasting more than 18,000 volumes, alongside select pieces of his personal furniture. Visitors can also view photographs of al-Aqqad with leading political, literary, and intellectual figures from around the globe, as well as meticulously preserved personal effects such as his old watch and spectacles.

A modest plaque affixed to the entrance, part of a Ministry of Culture initiative to honour national cultural icons, reads simply: "Here lived Naguib Mahfouz."

Ihsan Abdel Quddous' apartment

On a quiet street in Cairo's affluent Zamalek district stands a modest building that conceals a rich and vibrant literary history. It was here that celebrated novelist and journalist Ihsan Abdel Quddous (1919-1990) resided and penned many of the iconic works that later became cornerstones of Egyptian cinema.

Yet, more than three decades after his passing, the residence remains closed to the public, neither transformed into a museum nor reimagined as a cultural centre to honour the legacy of the author of There Is a Man in Our House, I Do Not Sleep, I Won't Live in My Father's Robes, I Am Free, and The Empty Pillow.

Though never officially converted into a museum, Abdel Quddous's home is still remembered as a distinctive literary sanctuary, one that bridged the realms of journalism and literature and served as a backdrop to the rise of the journalistic novel in Egypt. His residence was once a hub for Egypt's artistic and intellectual elite, with figures such as Abdel Halim Hafez, Soad Hosny, and Youssef El-Sebai among his guests. Within these walls, characters from I Do Not Sleep and There Is a Man in Our House came to life. The very atmosphere still seems to resonate with the romance and revolution that defined his storytelling.

Mohamed Ihsan Abdel Quddous, the late writer's son and a journalist in his own right, stated that he currently resides in the same apartment where his father once lived and does not have an alternative residence. The state, he noted, has never proposed any initiative to the family regarding converting the flat into a museum or similar institution, highlighting a clear lack of interest from official bodies in honouring icons of creativity and literature.

Mohamed called on the state to honour the memory of these pioneering figures through the creation of a comprehensive museum that would house the artefacts and memorabilia of the nation's literary greats, not to single out any one individual, but to celebrate the collective heritage of Egyptian creativity. He also affirmed his family's readiness to donate select personal belongings of his father, should the government choose to undertake such a project, in tribute to a man whose words continue to echo across generations.

Abbas al-Aqqad's home is now a museum, housing his private library, boasting more than 18,000 volumes, alongside select pieces of his personal furniture

Karmat Ibn Hani

On the banks of the Nile in Giza stands the home of Ahmed Shawqi, revered as the 'Prince of Poets.' Known as 'Karmat Ibn Hani', the mansion has been transformed into a singular literary museum that preserves the legacy of a man who elevated Arabic poetry and helped forge the cultural identity of a nation.

Built in 1914, the house quickly became a dynamic gathering place for writers, politicians, and artists, among them the legendary composer Mohamed Abdel Wahab, whom Shawqi discovered and mentored. The house's balcony, overlooking the Nile, served as a platform from which poetry and music took flight. The river itself seems to lean in, listening to the echoes of Shawqi's celebrated verses, from Wuleda Al-Huda (Guidance was Born) to Nahj Al-Burda (The Way of the Mantle).

Today, Karmat Ibn Hani comprises galleries that exhibit Shawqi's original manuscripts, personal effects, and an extensive library. One of its rooms is devoted to the legacy of Abdel Wahab, in tribute to the profound bond between the poet and the musician.

Far from being a static historical monument, the mansion is a living cultural landmark, one that bridges past and present, bearing witness to the timeless power of artistic expression. It affirms that true creativity never fades; it lingers in memory and continues to inspire whenever one seeks to revisit the golden era of literature and music.

Yusuf Idris's house

In Cairo's Agouza district lies the former home of the eminent writer and novelist Yusuf Idris (1927-1991), author of The Sin, The Cheapest Nights, The Disgrace, and Dregs of the City. A pioneering voice in Arabic short fiction, Idris's residence was modest, yet brimming with life. He was often seen sitting on his balcony, writing about the people below, capturing their hardships, joys, and quiet aspirations.

Although the house where he was born and raised—located in the village of Al-Bayroum, in the Faqus district of Sharqia Governorate, near a library that bears his name—is now at risk of collapse and in urgent need of restoration, there have been increasing calls to transform the site into a landmark cultural centre or tourist attraction.

"My father's house holds priceless literary treasures, yet it has remained closed for years," said Nesma Idris, the novelist's daughter and a short story writer herself. "The Ministry of Culture has taken no steps to convert it into a museum."

More than three decades after his passing, the modest home of celebrated novelist Ihsan Abdel Quddou remains closed to the public

Yahya Haqqi's houses

As discussions about honouring Egyptian literary icons by converting their homes into museums resurface, the name of the eminent writer Yahya Haqqi (1905-1992) has come to the fore. A foundational figure in modern Arabic narrative, Haqqi left an indelible mark through his short stories, novels, and cultural essays.

His daughter, Noha Yahya Haqqi, explained that her father never lived in one permanent residence. He moved between several homes, from El-Sayeda Zainab and Zamalek to Heliopolis, as well as abroad during his diplomatic service.

"There's no specific home left by my father that would be suitable for conversion into a permanent museum," she said. Nonetheless, she voiced strong support for the creation of a unified, national museum dedicated to Egypt's literary luminaries, a space that would honour their collective legacies and preserve their original belongings and correspondence.

She expressed her willingness to donate several of her father's personal effects, including manuscripts, rare photographs, letters, and books, still in her possession. She called for support for such initiatives, describing them as vital steps towards safeguarding Egypt's literary heritage, especially at a time when there is a pressing need to preserve the legacy of our forebears, making it accessible to new generations, not merely as a memory, but as a living beacon of creativity.

Will Egypt's cultural institutions rise to the occasion? Could we soon witness the establishment of a comprehensive museum that celebrates the legacy of literary giants such as Yahya Haqqi, Tawfiq Al-Hakim, Salah Abdel Sabour, and others whose works helped shape the intellectual and artistic renaissance of the Arab world?

Khairy Shalaby

In Cairo's Maadi district sits the apartment of the late novelist Khairy Shalaby (1938-2011), a towering figure in contemporary Arabic fiction renowned for his deft portrayal of social realism and his pioneering ventures into historical fantasy. This was no ordinary home; it was a creative workshop, a sanctuary for imagined heroes, a stage for intimate confession, and a space infused with the everyday textures of Egyptian life, with all its hardship, humour, and human depth.

Shalaby, widely recognised as one of the finest chroniclers of rural Egypt, wrote many of his most acclaimed novels in this modest apartment, including The Peg, The Lodging House (Wakalet Attia), Mule of the Throne, The Basterds (Al-Awbash), and The Hashish Waiter.

In his untouched home, Khairy Shalaby's papers still lie scattered on his desk; his massive library remains intact. No steps have been taken to turn it into a museum.

Since his death in 2011, the apartment has remained untouched. His desk still stands, his papers lie scattered, and his extensive library, comprising thousands of volumes, remains intact, as does the chair in which he spent countless hours writing. Yet, despite the literary legacy held within its walls, no official steps have been taken to convert the residence into a museum or cultural site.

Writer Zein Al-Abidin Khairy Shalaby, the novelist's son, explained that "the idea of turning my father's apartment into a museum or public cultural space had never been seriously considered. It remains a family home, currently inhabited by my mother and frequented by grandchildren." The library, he noted, "is still preserved in full."

He added that such initiatives are more suited to historical properties, grand villas and mansions like those of Ahmed Shawqi or Taha Hussein, rather than the modest apartments now occupied by most Egyptian families. As such, converting the Maadi residence into a museum would be neither practical nor appropriate.

"I believe the most practical solution now is for the state to establish a national museum dedicated to its writers, cultural icons, and immortals," he said. "It would be a collective museum housing the belongings of writers and thinkers, instead of having them scattered across multiple locations. For instance, the Naguib Mahfouz Museum holds some of his possessions, while part of his library was transferred to the Bibliotheca Alexandrina.

"But if there were a single venue that brought together these belongings, libraries, and what remains of significant items, such as heritage books and manuscripts, it would be a remarkable initiative. Such a place would become an important destination for Egyptians, Arabs, and international visitors alike."

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