A Prostitute and a Half-Crazy

“This long and tedious argument might not have been necessary, had Lawrence Sha’lul not wanted me, as others did, to have an opinion on what I wrote. I read what I wrote and found it to be a bold, original, and accurate piece of writing. There is a bias in it resulting from a lack of writing skill, a lack of polished writing talent, or a lack of a writing teacher. These are things that are acquired through perseverance and are achieved through the refinement of talent. It is a mistake to resort to reform or to advise reform, lest we deprive the writer of her right to the way she has become accustomed to, or has found pleasure in, writing about what she has experienced, heard, and perceived of matters that might offend modesty, while at the same time offending reality or transforming it into a polite literary preamble. All polite literature is based on money, not literature, or literature that is embellished, improved, embellished, or brought by embellishment. In Bedouinism, there is beauty that is not brought” because it is crafted in the image of the Creator in His creation, and in accordance with what the beautiful God, who loves beauty, intended in His creatures, after this sophistry, which you see as an intrusion, and I see as an explanation, is that what God has chosen is good, and that I submit to the desire of a writer I did not know before, and may not know later, because God Almighty has forgiven me for correcting any preamble for any woman, and has forgiven me for writing introductions in general and in detail. The pen I held for sixty years was not a pen, but a file. It cooled my nerves until they frayed, and wore out my clothes until they were torn. The unfortunate thing is that “I was torn, but the clothes were not torn.” Does Lawrence Sha’lul think that deceit, which is her only equipment, can conceal the word of malice written in a visible and invisible way on the forehead of every woman, and that it can even slip through the throat of ruin, in an attempt to delude me that what she said about her knowledge of me goes back to the days of studying at the College of Arts?
Away from a direct reading of the lines of this novel, we read in its lines that dimension to which the novelist Hanna Mina travels in an attempt to uncover Regarding these social ills among adults that cast a shadow over the innocence of children, eroding innocence, killing childhood, and making it a false foundational stage in a person’s life, the novelist explores the doors of psychology, philosophy, and logic so that the basic idea, the focus of the novel, dominates all other expressive tools. Readers would be mistaken if they took this as abstract. Some may have a superficial reading of the novel’s content, but this would negate Hanna’s novelistic creativity, marginalize it, and even expose him to some criticism. What can be emphasized, however, is Hanna Mina’s narrative craftsmanship, which makes the novel a tool for revelation and treatment.