Al Majalla's Book Watch

A tour of the latest releases from Arabic publishing houses on topics covering fiction, philosophy, science, history, and politics

Al Majalla

Al Majalla's Book Watch

The Arab world has a vibrant and rich literary scene. Al Majalla selects some notable titles in our fortnightly round-up of the latest Arabic books, which aims to highlight trends and perspectives in the region.


Al Majalla

A Blog That Is Not Personal: Pages from the Palestinian-Syrian Era

By: Majed Kayali

Publisher: Kanaan for Studies and Publishing, Syria

In this autobiographical book, Palestinian writer and Al Majalla contributor Majed Kayali, 70, crafts a contemplative 247-page memoir that takes the reader from Jordan to Damascus via New York, Istanbul, and Berlin. More than a personal recollection, this is a sweeping portrait of a generation shaped by the convulsions of Palestinian and broader Arab tragedies, weaving individual stories with the political and intellectual changes of the era.

Kayali recounts the awakening of his Palestinian consciousness, shaped in exile. He revisits his early involvement with the Fatah movement in Jordan, his teenage activism and the emergence of an internal critique that would grow over time. The Israeli invasion of Lebanon in 1982 marked a turning point and a rupture that intensified his journey from revolutionary fervour to reflective disillusionment.

The book draws heavily on his memories of place and identity. Lod, his birthplace, becomes a symbol of unresolved grief in the Palestinian psyche, evoking a sense of permanent absence and yearning. As the story progresses, it shows an increasing engagement with culture and writing. For Kayali, books become more than companions; they are a form of resistance and preservation, evoking lost homelands and vanquished hopes.

Writing becomes both a refuge and a weapon in exile, meaning that Kayali finds his sense of place not in geography but in the written word. Readers can feel both the ache of displacement and the quiet dignity of perseverance, as scenes are recalled with an intimacy that transcends nostalgia. At its core, this is a question of belonging.

In the final chapters, the narrative softens into an elegy for comrades and thinkers who shared the long road of struggle and contemplation. The likes of Majed Abu Sharar, Salameh Kaileh, Michel Kilo and Faisal al-Hourani are not abstractions but a vivid presence for Kayali, who has now authored 11 books.

This work is not an autobiography in the conventional sense, he says, but rather a political and human document in which the private and the collective intersect, capturing the fractured dreams of a generation that yearned for liberation and justice. More than a memoir, this is a quiet reckoning, a book of remembrance and resistance, shaped by loss yet sustained by clarity of thought, returning to the unresolved question of Palestine and the intellectual struggle that endures in its name.

Al Majalla

Phenomenology of Intuition and Expression: A Theory of the Construction of Philosophical Concepts

By: Martin Heidegger

Translator: Al-Nasser Amara

Publisher: University Institution for Studies and Publishing, Lebanon

As the title suggests, German philosopher Martin Heidegger (1889-1976) uses this book to explore the relationship between intuition and expression, seeing both as essential to the formation of philosophical concepts. It is based on a series of lectures he gave at the University of Freiburg in 1920. Only translated into English in 2010, it is now available in Arabic.

Known for his insights in philosophical fields such as ontology, phenomenology, hermeneutics, and existentialism, Heidegger departs from the dominant emphasis on expression in modern thought—understood as language, text, and discourse—and instead reclaims intuition as a vital force with generative power.

Seeing intuition as neither indistinct nor fleeting, Heidegger defines it as the original moment in which meaning is disclosed, the point at which a philosophical concept comes into being prior to its articulation. For him, intuition precedes language, and it is within this pre-verbal moment that genuine philosophical insight takes root.

The connection between intuition and expression is central to Heidegger’s argument. He maintains that a philosophical concept is not simply the product of speech or analysis, but arises from what he calls the “experience of intuition”. This allows the conceptual structure to emerge with existential weight.

Seeing intuition as neither indistinct nor fleeting, Heidegger defines it as the original moment in which meaning is disclosed

Expression, then, is not merely a vessel through which thought is communicated; it is the very space where the concept is constructed and made present. Once articulated in language, the concept retains the power to rekindle that original intuition, preserving its vitality. This is Heidegger's framework for the "theory of constructing philosophical concepts". He is not concerned with building abstract, analytical systems, but with formulating concepts that go beyond rigid classification.

The book poses some key questions. What is a concept? How does it carry the weight of existential experience? In what way does expression shape the presence and resonance of philosophical structures? For Heidegger, traditional philosophical discourse is fixated on language and method, neglecting the intuitive genesis of thought, thereby stripping concepts of their living presence.

Heidegger's call is clear: to rethink intuition as an authentic wellspring of philosophical reflection and to ground conceptual development in moments of disclosure, rather than in moments of expression only. For him, concepts are not inert representations, but events of thought, charged with presence and potential.

This book is a crucial contribution to contemporary philosophical debates, particularly in hermeneutics, ontology and the philosophy of language. It bridges the divide between existential inquiry and linguistic analysis, offering a fresh philosophical vocabulary that honours both being and expression. Al-Nasser Amara's Arabic translation brings Heidegger's intricate thought into sharp focus.

Al Majalla

Kahlil Gibran: Twenty Drawings

Commentary: Alice Raphael

Translation and Editing: Zahi Roustom

Publisher: Al Khayyat Publishing (USA)

This book introduces Arab readers to a lesser-known dimension of Lebanese-American writer and poet Kahlil Gibran: that of a visual artist whose drawings offer a parallel expression of his philosophical and spiritual vision.

Over 90 pages, Roustom traces Gibran's journey from Lebanon to the American diaspora, emphasising the interplay between Eastern heritage and Western influence that shaped his creative evolution. He highlights Gibran's pursuit of a unified aesthetic that weaves together word and image, driven by a mystical humanism.

Scholar Alice Raphael delves into the symbolic world of Gibran's drawings, identifying recurring motifs, human figures, nature, and spiritual imagery. She interprets them as visual echoes of the themes that animate his writing, showing how Gibran's art forms a seamless extension of his literary voice.

The 20 drawings referenced in the title are each accompanied by titles and descriptive commentary. These works span the symbolic and the abstract, offering insight into Gibran's imagination. Together, they form an album. First published in 1916, the collection marked Gibran's debut as a visual artist in America, predating the global recognition he would later receive as a poet, writer, and intellectual. Twenty Drawings remains a testament to his holistic vision, one that does not separate word from image, but rather sees both as vital expressions of the human soul.

Al Majalla

Glossary of Travel Literature Terms

By: Dr Fadel Abboud Al-Tamimi

Publisher: Ahwar Publishing and Distribution, Iraq

This glossary is a dedicated reference work in the field of travel writing, offering a structured and insightful contribution to Arabic literary studies. This volume brings clarity to the specialised terminology, concepts, and definitions associated with travel literature, offering an analytical lens through which journeys and their narratives are understood.

The book assumes 'travel' to be not just a descriptive term but a distinct literary genre. The author explores this genre through several critical dimensions, including narrative structure, the role of place, the construction of self, and the perception of the other.

From this, the glossary expands to consider the traveller, the construction of the journey, travel discourse, and forms of travel, in a call to move beyond the surface of travel narratives that often focus solely on itineraries or events. Instead, al-Tamimi focuses on the language itself, asking why specific terms are chosen, how they function within the text, and what relationships they form with surrounding concepts.

The book offers an accessible entry point for students, writers and critics, especially given the growing interest in travel texts and the cultural, psychological, and social insights they reveal. While comprehensive in scope, it remains inevitably open-ended in an evolving field, inviting further development and future contributions.

More than a catalogue of definitions, It serves as a practical and theoretical guide that equips readers with the tools necessary to navigate travel writing with clarity, depth and intellectual precision. It opens a much-needed space in Arabic literary criticism for the systematic study of travel as a genre shaped by language, movement and meaning.

Al Majalla

A History of Repression and Censorship of Theatre in Yemen

By: Mohammed Al-Kurami

Publisher: Afaq Institution for Studies, Translation and Publishing, Egypt

Yemeni writer Mohammed Al-Kurami presents a compelling historical and analytical study of the enduring struggle between artistic expression and political authority in his home country, examining how theatre in Yemen has been shaped and constrained by the shifting tides of power, ideology, and social conservatism.

The story begins in the early 20th century, with the first efforts to establish theatre troupes and local performances that engaged with pressing social and political themes. From here, Al-Kurami traces the development of Yemeni theatre as both a cultural endeavour and a political act, including the mechanisms of censorship, which show how authorities sought to control the stage—whether by suppressing texts, banning performances, or intimidating artists and playwrights.

Crucially, the book dispels the notion that censorship in Yemen was confined to a single regime or period. Instead, Al-Kurami demonstrates that restrictions have persisted across a spectrum of political contexts, from the conservative rule of the former northern and southern states to the present repressive climate under Houthi control. Across these regimes, censorship has been a constant barrier to creative freedom, silencing voices that challenge the status quo.

Al-Kurami traces the development of Yemeni theatre as both a cultural endeavour and a political act, including the mechanisms of censorship

Drawing on real-life cases, the book details instances in which plays were banned or forcibly altered due to their critical content. Whether addressing themes of political injustice, human rights, or social reform, such works were often met with resistance or outright prohibition. Al-Kurami shows how this bred fear, which in turn bred self-censorship and discouraged bold artistic ventures. This reduced theatre to neutral, entertainment-only content, stripped of any critical potential.

Moving beyond the theatre, the book explores the broader cultural repercussions of repression and considers how censorship has shaped public attitudes towards the theatrical arts, influencing both audience expectations and theatre's social value. Al-Kurami also examines the creative strategies developed by playwrights and directors in response to these pressures, including the use of allegory, metaphor, and indirect critique to navigate censorship.

Concluding, Al-Kurami calls for the protection and promotion of artistic freedom, underlining the indispensable role of theatre in fostering dialogue, challenging oppression, and cultivating collective awareness. Theatre, he argues, must be recognised not as a luxury or a diversion, but as a vital instrument of cultural resistance and social progress.

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