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genialokal zum Startbildschirm hinzufügen
Installieren Sie die genialokal App auf Ihrem Startbildschirm für einen schnellen Zugriff und eine komfortable Nutzung.
Installieren Sie die genialokal App auf Ihrem Startbildschirm für einen schnellen Zugriff und eine komfortable Nutzung.
In the first sentence of "The Ages of Daniel in the City of Threads," we see a scene of dolls on balconies and windows looking at a scene of sacrificial dolls below. This double monstrosity, or double death, puts us at the heart of the shock, and opens our eyes to a city reeling under heavy punishment. In "One Thousand and One Nights," we encountered more than one city that was distorted, either as a divine punishment, or without a clear reason, such as "The City of Brass." But the humans of the punished and unpunished cities at night turn into statues, and no longer suffer, unlike the puppet humans in this city who feel terrified of being killed, of their children getting lost in the chaos, of the city drowning under a never-stopping torrent of rain. Despite the punishment inflicted on them and their city, they still had the desire to survive. They tried to do something, while Daniel, the son of light, the son of darkness, sat endlessly writing down pages that he was accumulating behind him, as if he were a Pharaoh building a pyramid of papers to immortalize under, while Chopin's Larghetto Romantic Symphony was repeated. It is as if it were a cosmic performance. Ahmed Abdel Latif built the city of dolls from a wild imagination, because fantasy here is firmly planted on the ground, starting from reality and returning. And from the atmosphere of the novel: "On the morning of the twenty-third of February, the dolls opened with a wooden hand the windows of their rooms and the doors of their balcony to see, with glassy eyes that were not lacking in shock and horror, dozens of corpses lying around the fountain of the main square, with blood floating on the rain water and eyes open to nothingness.
