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Oasis Trilogy #2
الدمية
رواية
Unknown Binding
First published January 1, 1998
4 people are currently reading
247 people want to read
About the author
Ibrahim al-Koni
92 books364 followersIbrahim al-Koni (Arabic: إبراهيم الكوني) is a Libyan writer and one of the most prolific Arabic novelists.
Born in 1948 in Fezzan Region, Ibrahim al-Koni was brought up on the tradition of the Tuareg, popularly known as "the veiled men" or "the blue men." Mythological elements, spiritual quest and existential questions mingle in the writings of al-Koni who has been hailed as magical realist, Sufi fabulist and poetic novelist.
He spent his childhood in the desert and learned to read and write Arabic when he was twelve. Al-Koni studied comparative literature at the Maxim Gorky Literature Institute in Moscow and then worked as a journalist in Moscow and Warsaw.
By 2007, al-Koni had published more than 80 books and received numerous awards. All written in Arabic, his books have been translated into 35 languages. His novel Gold Dust appeared in English in 2008.
Born in 1948 in Fezzan Region, Ibrahim al-Koni was brought up on the tradition of the Tuareg, popularly known as "the veiled men" or "the blue men." Mythological elements, spiritual quest and existential questions mingle in the writings of al-Koni who has been hailed as magical realist, Sufi fabulist and poetic novelist.
He spent his childhood in the desert and learned to read and write Arabic when he was twelve. Al-Koni studied comparative literature at the Maxim Gorky Literature Institute in Moscow and then worked as a journalist in Moscow and Warsaw.
By 2007, al-Koni had published more than 80 books and received numerous awards. All written in Arabic, his books have been translated into 35 languages. His novel Gold Dust appeared in English in 2008.
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Displaying 1 - 13 of 13 reviews
March 3, 2020
قراءة في رواية [الدُّمْيَة] ﻹبراهيم الكوني
يُنزِلُنا الكوني في هذه الرواية واحةً، ﻻ كي يُرِينا حياة الوداعة والسكينة فيها، ولكن ليكشف سِرَّ الغواية!..ء
" الواحة..فخُّ العابر، فردوس الظمآن، كنز التائه، وطن العبيد!ء "
تأتي الرواية في تسعة فصول هي: الجنيّة، الدّمية، الحكم، الصُّرّة، الحملة، القصص، الشّقي، المكيدة، اللهو.
تتتبع التحول الذي يطرأ على سلوك و رؤية أهل الخلاء والعبور حينما يتخلون عن حرية الترحال، ويركنون لقيد اﻹمتلاك "من يمتلك أرضاً امتلكته أرضه".
تصور لنا مدى التغير الكبير الذي يمكن أن تُحدِثَهُ أصغر مخالفة لما اتُّفِقَ على أنه مُقدّس وناموس!..ء
القرينين سليلَيْ النبلاء، الزعيم و قرينه البطل، وبينهما روح اﻷفعى كبير التجار.
يتقبل الزعيم (فارس الحكمة) المنصب الذي طالبت به الغوغاء، بإيعاز من كبير التجار، وضغط من البطل (فارس السيف) الذي اقتنع بأن السلطان ضروري لبسط اﻷمن وتعزيز الثقة..إذ ﻻ تنهض تجارة دونهما.
لكن الزعيم سيقوم باﻷمر برؤية أهل الصحراء، ونسيَ "أن إنسان الواحة من طينة أخرى، ﻻ علاقة له باﻹنسان الذي عرفته القبيلة في الصحراء"..ما هو محرمٌ ومنحوسٌ هناك، حلالٌ ومباركٌ هنا!. ء
لذلك لم تَرَ عيناهُ ما يضطرمُ تحت اﻷلثِمة، ولم تشعر روحُه بالخطر الزَّاحف نحوها، ولم تسمع أذناهُ الفحيحْ.. ء
كل اﻷصوات في هذه الرواية مليئةٌ بالحكمة و الرصانة واﻹتزان، لكن سلوكها ينحى إلى الخبث و المكر و الخديعة في آخر ثلاثة فصول، إلى درجة تبلغ حدَّ العبث واللامعقول!. ء
ما يجعلنا ﻻ نتقبل مصائر الشخصيات في نهاية الرواية، خصوصا المشهد الختامي الذي يبدو مسرحيا ﻷبعد الحدود!.ء
لكن للكوني مراوغاته، فيضطرنا لبحث سريع و عودة خاطفة إلى الوراء لعلنا فوَّتنا مفتاحا ما، إذ غالباً ما يبثُّ في أعماله همهماتٍ تظنُّها تهاويمُ درويشٍ يقول وﻻ يقصدْ، يُبهِمُ وﻻ يُوضِحْ، يَخْتِلْ وﻻ يُشيرْ " كلُّ اﻷصوات تتشابه عندما تُجابه بالقمع. كلُّ اﻷضداد تتشابه وتتلاءم عندما يختلطُ اﻷمر ". غمغمةٌ خفيّة تكررت في نهاية فصلين متتاليين، ستكشفُ فيما بعد كيف تشابهت اﻷضداد بعدما تشابهت اﻷصوات، عندما عُولِجَ ضدٌّ بنفس علاج ضِدِّه، فاختلط اﻷمر.
يريد إبراهيم الكوني أن يصل في هذا العمل إلى أن اﻷنشطة المادية إذا ما استحوذت علينا، فإنها ستؤدي بنا إلى سفْحِ كلِّ ما هو مقدّسْ.
رواية صغيرة الحجم، كبيرة الفكرة، متقنة البناء، رائعة العبارة.
يُنزِلُنا الكوني في هذه الرواية واحةً، ﻻ كي يُرِينا حياة الوداعة والسكينة فيها، ولكن ليكشف سِرَّ الغواية!..ء
" الواحة..فخُّ العابر، فردوس الظمآن، كنز التائه، وطن العبيد!ء "
تأتي الرواية في تسعة فصول هي: الجنيّة، الدّمية، الحكم، الصُّرّة، الحملة، القصص، الشّقي، المكيدة، اللهو.
تتتبع التحول الذي يطرأ على سلوك و رؤية أهل الخلاء والعبور حينما يتخلون عن حرية الترحال، ويركنون لقيد اﻹمتلاك "من يمتلك أرضاً امتلكته أرضه".
تصور لنا مدى التغير الكبير الذي يمكن أن تُحدِثَهُ أصغر مخالفة لما اتُّفِقَ على أنه مُقدّس وناموس!..ء
القرينين سليلَيْ النبلاء، الزعيم و قرينه البطل، وبينهما روح اﻷفعى كبير التجار.
يتقبل الزعيم (فارس الحكمة) المنصب الذي طالبت به الغوغاء، بإيعاز من كبير التجار، وضغط من البطل (فارس السيف) الذي اقتنع بأن السلطان ضروري لبسط اﻷمن وتعزيز الثقة..إذ ﻻ تنهض تجارة دونهما.
لكن الزعيم سيقوم باﻷمر برؤية أهل الصحراء، ونسيَ "أن إنسان الواحة من طينة أخرى، ﻻ علاقة له باﻹنسان الذي عرفته القبيلة في الصحراء"..ما هو محرمٌ ومنحوسٌ هناك، حلالٌ ومباركٌ هنا!. ء
لذلك لم تَرَ عيناهُ ما يضطرمُ تحت اﻷلثِمة، ولم تشعر روحُه بالخطر الزَّاحف نحوها، ولم تسمع أذناهُ الفحيحْ.. ء
كل اﻷصوات في هذه الرواية مليئةٌ بالحكمة و الرصانة واﻹتزان، لكن سلوكها ينحى إلى الخبث و المكر و الخديعة في آخر ثلاثة فصول، إلى درجة تبلغ حدَّ العبث واللامعقول!. ء
ما يجعلنا ﻻ نتقبل مصائر الشخصيات في نهاية الرواية، خصوصا المشهد الختامي الذي يبدو مسرحيا ﻷبعد الحدود!.ء
لكن للكوني مراوغاته، فيضطرنا لبحث سريع و عودة خاطفة إلى الوراء لعلنا فوَّتنا مفتاحا ما، إذ غالباً ما يبثُّ في أعماله همهماتٍ تظنُّها تهاويمُ درويشٍ يقول وﻻ يقصدْ، يُبهِمُ وﻻ يُوضِحْ، يَخْتِلْ وﻻ يُشيرْ " كلُّ اﻷصوات تتشابه عندما تُجابه بالقمع. كلُّ اﻷضداد تتشابه وتتلاءم عندما يختلطُ اﻷمر ". غمغمةٌ خفيّة تكررت في نهاية فصلين متتاليين، ستكشفُ فيما بعد كيف تشابهت اﻷضداد بعدما تشابهت اﻷصوات، عندما عُولِجَ ضدٌّ بنفس علاج ضِدِّه، فاختلط اﻷمر.
يريد إبراهيم الكوني أن يصل في هذا العمل إلى أن اﻷنشطة المادية إذا ما استحوذت علينا، فإنها ستؤدي بنا إلى سفْحِ كلِّ ما هو مقدّسْ.
رواية صغيرة الحجم، كبيرة الفكرة، متقنة البناء، رائعة العبارة.
June 6, 2013
Thought-provoking in the ways that Kuni's books always are, though this one suffers from its translation. In trying to bring Kuni's curious blend of archaic and unconventional language into Arabic, Hutchins produces a register that is more often stilted and choppy than mystical and evocative.
That said, in relating the love story in the latter part of the book Hutchins really does capture Kuni's tone, which makes that section a pleasure to read. Shame that the same is not true of the other sections of the book.
That said, in relating the love story in the latter part of the book Hutchins really does capture Kuni's tone, which makes that section a pleasure to read. Shame that the same is not true of the other sections of the book.
January 27, 2018
-هل تأتين معي؟
نعم-
الى الأبد؟-
نعم -
الان؟-
نعم-
لن يفوز بك إنس ولا جان -
سنعود مخلوقا واحدا كما كنا يوما ....عدت لأسترد مخلوقا كنت معه يوما مخلوقا واحدا
عن أي يوم تتحدث؟-
يوم لم نشهد فيه ميلاد-
September 28, 2024
The Puppet is a captivating tale set in the Saharan desert, exploring themes of tradition, modernity, and the corrupting influence of power. The novel centers around Aghulli, a noble but naive man chosen to lead a nomadic tribe as it transitions from a traditional pastoral lifestyle to a more settled, commercial one.
The novel vividly portrays the clash between the tribe's cherished nomadic traditions and the encroaching forces of modernity, symbolized by the establishment of an oasis and the pursuit of wealth. As the tribe becomes more involved in trade and politics, corruption sets in, leading to betrayal, greed, and a gradual erosion of traditional values.
Aghulli, the puppet of the title, represents the individual caught between the conflicting demands of tradition and modernity. His struggle to maintain his integrity and uphold the values of his people highlights the challenges of navigating a rapidly changing world. The novel suggests that conformity to societal expectations can lead to a loss of individuality and moral integrity. The characters who succumb to the temptations of power and wealth often find themselves trapped in a cycle of corruption and self-destruction.
The Saharan desert serves as a powerful backdrop to the novel, symbolizing both the harsh realities of life and the enduring spirit of the nomadic people. The desert's vastness and unforgiving nature underscore the challenges faced by the tribe as they adapt to a changing world. The characters' deep connection to the land is a recurring theme in the novel, emphasizing the importance of tradition and the natural world in shaping their identity.
The novel explores the darker aspects of human nature, revealing the destructive power of greed, jealousy, and betrayal. The characters' actions often betray their professed values, highlighting the fragility of human morality. The novel suggests that power can corrupt even the most well-intentioned individuals. The characters who rise to positions of leadership often find themselves compromised by the temptations of wealth and influence.
The Puppet is a thought-provoking exploration of the complexities of human nature and the challenges of adapting to a rapidly changing world. Through its vivid portrayal of the Saharan desert and its complex characters, the novel offers a powerful commentary on the enduring themes of tradition, modernity, and the corrupting influence of power.
The novel vividly portrays the clash between the tribe's cherished nomadic traditions and the encroaching forces of modernity, symbolized by the establishment of an oasis and the pursuit of wealth. As the tribe becomes more involved in trade and politics, corruption sets in, leading to betrayal, greed, and a gradual erosion of traditional values.
Aghulli, the puppet of the title, represents the individual caught between the conflicting demands of tradition and modernity. His struggle to maintain his integrity and uphold the values of his people highlights the challenges of navigating a rapidly changing world. The novel suggests that conformity to societal expectations can lead to a loss of individuality and moral integrity. The characters who succumb to the temptations of power and wealth often find themselves trapped in a cycle of corruption and self-destruction.
The Saharan desert serves as a powerful backdrop to the novel, symbolizing both the harsh realities of life and the enduring spirit of the nomadic people. The desert's vastness and unforgiving nature underscore the challenges faced by the tribe as they adapt to a changing world. The characters' deep connection to the land is a recurring theme in the novel, emphasizing the importance of tradition and the natural world in shaping their identity.
The novel explores the darker aspects of human nature, revealing the destructive power of greed, jealousy, and betrayal. The characters' actions often betray their professed values, highlighting the fragility of human morality. The novel suggests that power can corrupt even the most well-intentioned individuals. The characters who rise to positions of leadership often find themselves compromised by the temptations of wealth and influence.
The Puppet is a thought-provoking exploration of the complexities of human nature and the challenges of adapting to a rapidly changing world. Through its vivid portrayal of the Saharan desert and its complex characters, the novel offers a powerful commentary on the enduring themes of tradition, modernity, and the corrupting influence of power.
March 17, 2021
The writing in this book was very difficult for me to get into, I think this is a personal preference situation. The plot was good but the writing was too cerebral for me (maybe?)?
November 26, 2016
Although all the main characters in The Puppet have names mostly they're referred to by titles like 'hero', ‘elder’ or ‘wretch’ underlining their archetypal nature. The book has rightly been described as mythical and it is—there's a definite timeless quality at play here—but that also distances us from the action. There's nothing new under the sun so the notion of a figurehead—in plain speaking terms, a puppet—being manipulated by those who raised him up is something we can easily grasp. But there's artifice at work here. The writing is stylised and at times you feel as if the protagonists are reading from a script. And that side of it's fine because the words they're given are often delightful to listen to but, and I have the same problem with Shakespeare, I found it impossible to feel any level of passion for their plight. It doesn't help that the supernatural is a part of everyday life and people talk about encounters with jinn as if they'd run into a neighbour down the market. They in many respects are the true powers to be reckoned with but they do tend to keep their agendas close to their chests.
The action mostly takes place around the Oasis of Waw where normally nomadic people have begun to settle; against their nature it could be argued. The rules that applied in the desert are now being questioned. As they should be. So we have the traditionalists versus the progressives and that’s something that plays out every generation. In this scenario the traditionalists are against trading in gold—“Desert tribes all agree that no matter where gold has been found, it has been stolen from the tribes of the Spirit World”—but do desert rules apply in an oasis? Much of the book is taken up with exchanges between the ruler and others debating such points. For example, a conversation between the leader and the chief merchant known only as “the man with two veils”. The merchant is the first to speak:
The action mostly takes place around the Oasis of Waw where normally nomadic people have begun to settle; against their nature it could be argued. The rules that applied in the desert are now being questioned. As they should be. So we have the traditionalists versus the progressives and that’s something that plays out every generation. In this scenario the traditionalists are against trading in gold—“Desert tribes all agree that no matter where gold has been found, it has been stolen from the tribes of the Spirit World”—but do desert rules apply in an oasis? Much of the book is taken up with exchanges between the ruler and others debating such points. For example, a conversation between the leader and the chief merchant known only as “the man with two veils”. The merchant is the first to speak:
“Our grandfathers didn’t tie themselves to the land. In their endless migrations they didn’t practice commerce.”One might’ve thought the spirit world would intervene but they mostly seem content to let things play out although they do advice the leader to protect himself and with more than just an amulet:
“What need does a nomad have for commerce? What need do caravans of migrants have for goods?”
“This is the problem: you don’t want to acknowledge that we haven’t been nomads for a long time. You don’t want to admit that we’ve been bound to the land for forty years. You’ve forgotten the Law’s precept saying that to stay for more than forty days in one place is a mark of bondage to the land. What if the number forty modifies years, not days?”
“Anyone who ties himself to the earth becomes the earth’s slave. Any slave of the earth finds himself exchanging goods for a profit and becomes a merchant. Anyone who adopts commerce for his profession acquires the dust of misfortunes. Isn’t this what you’re trying to have me believe? Isn’t that what seduced you into hiding the hateful metal in your house?”
“Yes. I’ll never deny that I—like all the nobles—have smuggled gold dust into my home. I smuggled it in not because I yielded to its beauty, which enslaves women and weak-willed men, but because its possession affords security.”
“Security?”
“Yes, master. Gold dust in the owner’s hand is a gift of security. Gold dust is life’s secret for everyone who chooses agricultural land for a homeland.”
“I’m amazed by what I hear!”
“I would feel embarrassed walking among the people surrounded by bodyguards.”The book’s not long but I found it hard to read more than a chapter at a time. It was only its brevity that encouraged me to finish it. I really should avoid books like this because they clearly don’t agree with me. I wonder if this is perhaps a result of all the years I spent reading the Bible which was another book I failed to appreciate on an emotional level despite the fact there are some decent stories and the writing’s not bad either at times.
“Life is a gift more precious than specious shame, master.”
“Do you think the danger is this severe?”
“Life is a gift more precious than specious shame, master.”
While he traversed the eastern alleys that ran parallel to the blacksmiths’ market, the man was beside him. When the alleys ended at the temple plaza, however, he found that his companion had disappeared, as if the alleys’ shadows, which had spat him out, had returned to swallow him.
May 16, 2016
Al-Koni, Ibrahim. The Puppet: a Novel. Trans. William M. Hutchins. Austin, TX: Center for Middle Eastern Studies, 2010.
At 113 pages, The Puppet should be listed as “a book you can read in a day,” but it’s not. The book is the second book in The Saharan Oasis trilogy by Libyan writer Ibrahim Al-Koni. The New Waw, the first of the series, has garnered the American Literary Translation Association’s 2015 National Translation Award for translator William H. Hutchins, and Al-Koni has been longlisted as one of only 9 for the 2015 Man Book Prize. The Puppet is the second, and The Scarecrow ends the series; however, the books do not need to be read in order to make sense.
Al-Koni writes in a stream of consciousness style that is influenced by his Tuareg heritage, his university years studying comparative literature in Russia, journalist years in Poland, and finally his settling down in Switzerland. The Puppet is a unique blend of ancient story that draws on motifs that are quite applicable to modern times. Al-Koni explores the values of nomadic life against the dangers of complacency once a people decides to settle for life in an oasis. A world of duality and irony ensues, where both sages and vassels are willing to sacrifice personal freedom and wisdom for gold and commerce that ultimately enslaves them. Intertwined with their political maneuverings, a love story between a vassal and a beautiful maiden tells a story older than time, between men and women, between the desert and its people, revealing the chthonic duality of passion and annihilation, life and death.
When the people demanded a leader, I was reminded of the warning Samuel, the last judge of Israel, the last mouthpiece direct from God, gives to the Israelites when they demand a king. Life will change. You don’t know what price you will truly pay in asking for a human ruler. The divine will have its day.
I was reminded of The Sibyl by Swedish writer Par Lagerkvist who had a lifelong interest in gods and the relationship of the human to the divine. I was also reminded of Hesse who explored the duality of human nature, how as man moves further away from nature, he moves further away from himself.
Al-Koni eloquently captures the ease of surrender to nature, “You must relax and give your body totally to the water if you want to stay afloat. In the desert, too, arrogant people who act obstinately succumb. In the dessert those who think they have been granted enormous knowledge and who therefore debate and resist will perish. The desert takes vengeance on this group with its labyrinth. The other group, those who surrender control to the wasteland and seek the desert’s protection against the desert, survives.”
Al-Koni’s storytelling is particular to his time and tradition, but applies to any traveler, any people. Should we fight? Should we succumb? Should we live ethically? These questions are not answered. Only what must be considered. No, the book is not a short read at all. It demands another.
At 113 pages, The Puppet should be listed as “a book you can read in a day,” but it’s not. The book is the second book in The Saharan Oasis trilogy by Libyan writer Ibrahim Al-Koni. The New Waw, the first of the series, has garnered the American Literary Translation Association’s 2015 National Translation Award for translator William H. Hutchins, and Al-Koni has been longlisted as one of only 9 for the 2015 Man Book Prize. The Puppet is the second, and The Scarecrow ends the series; however, the books do not need to be read in order to make sense.
Al-Koni writes in a stream of consciousness style that is influenced by his Tuareg heritage, his university years studying comparative literature in Russia, journalist years in Poland, and finally his settling down in Switzerland. The Puppet is a unique blend of ancient story that draws on motifs that are quite applicable to modern times. Al-Koni explores the values of nomadic life against the dangers of complacency once a people decides to settle for life in an oasis. A world of duality and irony ensues, where both sages and vassels are willing to sacrifice personal freedom and wisdom for gold and commerce that ultimately enslaves them. Intertwined with their political maneuverings, a love story between a vassal and a beautiful maiden tells a story older than time, between men and women, between the desert and its people, revealing the chthonic duality of passion and annihilation, life and death.
When the people demanded a leader, I was reminded of the warning Samuel, the last judge of Israel, the last mouthpiece direct from God, gives to the Israelites when they demand a king. Life will change. You don’t know what price you will truly pay in asking for a human ruler. The divine will have its day.
I was reminded of The Sibyl by Swedish writer Par Lagerkvist who had a lifelong interest in gods and the relationship of the human to the divine. I was also reminded of Hesse who explored the duality of human nature, how as man moves further away from nature, he moves further away from himself.
Al-Koni eloquently captures the ease of surrender to nature, “You must relax and give your body totally to the water if you want to stay afloat. In the desert, too, arrogant people who act obstinately succumb. In the dessert those who think they have been granted enormous knowledge and who therefore debate and resist will perish. The desert takes vengeance on this group with its labyrinth. The other group, those who surrender control to the wasteland and seek the desert’s protection against the desert, survives.”
Al-Koni’s storytelling is particular to his time and tradition, but applies to any traveler, any people. Should we fight? Should we succumb? Should we live ethically? These questions are not answered. Only what must be considered. No, the book is not a short read at all. It demands another.
September 7, 2016
Wow, this was quite a revelation. I'd never heard of it before it turned up in my local Oxfam shop but I was really impressed with what I read. It's book 2 of a trilogy but you don't need to have read the first. It deals with a group of nomads adjusting to settled life in an Oasis. The changes their society undergoes mirror the writings of Ibn Khaldun (this is all spelled out in the introduction), with metropolitan customs undermining the purity of their previous beliefs. The Puppet in question is the ruler chosen by the merchants to advance their interests. The overall effect is like a small-scale version of House of Cards or maybe Julius Caesar. It's a political thriller in other words, albeit not like any you will have read before!
November 21, 2019
I liked this book from the beginning but I felt like, I wasn’t sure I was getting it. In the introduction, the translator explained that the language is so beautiful and lyrical and the story had so many layers to it, philosophical undertones, that it was a common feeling among readers. BUT, the ending makes up for it. The ending was bang! When the leader tells the Chief Vassal that he never understood their conversations and all that poetic talk about commerce, I felt validated. And the ending brings perfect closure and it’s so deep. Y’all if you love Naguib Mahfouz, Chinua Achebe and Tawfiq Al-Hakim as much as I do, you’re gonna LOVE Al-Koni.
March 31, 2015
ليست الأفضل للكوني و لكنها كبداية عن الصحراء و عالمها فأنها أكثر من رائعة
تتحدث الرواية عن تجربة الحكم بين أهل الصحراء عندما أستوطنوا الواحة
و كيف نصبوا عليهم زعيماً يخالف ما جاء به ديانتهم القديمة ، و هو أتخاذ زعيماً دمية من البشر
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اللغة فوق الرائعة ، أحسست ببعض المقاطع في الرواية لا تتنمي للرواية أصلاً لكنها بعد تحميص و معاودة قراءة هي أساسية للرواية و تتحدث عن العبث الذي طال أهل الصحراء و تفرقهم في الواحة
بل تقترب من الأسطورة و حديثها
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السرد كان جيد و إن كان مملاً في بعض الفصول
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أنصح بها كرواية فلسفية و سياسية بحتة
تتحدث الرواية عن تجربة الحكم بين أهل الصحراء عندما أستوطنوا الواحة
و كيف نصبوا عليهم زعيماً يخالف ما جاء به ديانتهم القديمة ، و هو أتخاذ زعيماً دمية من البشر
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اللغة فوق الرائعة ، أحسست ببعض المقاطع في الرواية لا تتنمي للرواية أصلاً لكنها بعد تحميص و معاودة قراءة هي أساسية للرواية و تتحدث عن العبث الذي طال أهل الصحراء و تفرقهم في الواحة
بل تقترب من الأسطورة و حديثها
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السرد كان جيد و إن كان مملاً في بعض الفصول
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أنصح بها كرواية فلسفية و سياسية بحتة
June 20, 2020
عالم من الخيال تعيشه وكأنه واقع تستشعر معه بكل التفاصيل الصغيرة .. قراءتها منذ سنوات وحتى قبل أن انشئ مكتبتي الإلكترونية ككتات ورقي عدة مرات وفي كل مرة كأنها الأولى رهيب في سرد التفاصيل الرائع إبراهيم الكوني
April 19, 2012
I read the translation and loved the book and the translation. Although I am not fond of such type of fiction, I did not regret reading the book. I strongly recommend it without any reservation.
November 29, 2025
to quote the narrator….
Amazing!
Amazing!
Displaying 1 - 13 of 13 reviews