Novelist Faiza Daoud ... the novel is a divan of the world that accommodates story, poetry and theater

Damascus-Sana

The writer Faiza Daoud writes all narrative forms, but the novel stops her because she is better able to deal with reality, in addition to her culture, she was able to write the novel that distinguished her as a writer and made her record what is reflected in herself in an artistic way.

In an interview with Sana, Daoud said that the novel is the parallel world to reality, and through this concept we find that the Syrian novel is in crisis due to the incompleteness of the event. It is a civil art par excellence, as it also needs a stable reality, and this does not seem possible during wars and crises, referring to another reason, which is the gradation of narrative time, i.e. the collective imagination that captures the event, adds to it, deletes from it and then narrates it, then it becomes a myth, so that the tough fighters become epic heroes and the place turns into a dreamy world. That event becomes a novelist that dissolves from hatred, hatred, sectarianism, insult and cursing, to be a humanitarian text par excellence, and of course this is a work that only the novelist mastered.

Regarding the novel during the crisis that Syria is going through, the writer made it clear that it does not appear to be a crisis novel as it should be, not only because it simulates reality, but in terms of what has been written about the crisis in Syria by the pens of Syrian novelists. Harbi and these novels are worthy of the term documentary novels.

Dawood said: The novel presented many facts and information that was surprising and painful at the same time, and in addition to this narrative style, there was a fictional style on which the term raw novel was correct, lacking maturity and devoid of vision.

And the writer added that in the last century, the term “the novel is the office of the world” has emerged, and this term has tempted some poets, so they have experienced writing fiction once or twice, but none of these recorded a remarkable presence in the novel despite the fact that some of them won a prize for the novel he had written, and those writings appeared These are fictional whims, and poetry remained their creative project, and the desire to speak among others was a motivation for writing a novel that found a place for it in some official and private publishing houses.

Daoud said that the novel is the book of the world, not only because it accommodates story, poetry, theater and thought, but because it is a reflection of society.

Dawood pointed out that the story in wars and crises such as poetry is more capable than the novel in expressing the crisis reality, because it is not only an art concerned with the individual situation, but also because it is the art of the snapshot, and this does not apply to the narrator with its known types of pastoral, epic and historical, as well as the autobiographical novel.

On the most important literary genres, Daoud said that each literary genre has its own characteristics and characteristics, so poetry has its presence, as well as the story and the novel, but how can these genres have an effect in the absence of the recipient. If we stop at poetry as a pulpit we are disappointed when we see the audience of a poetry evening which is a minority of the elite and this applies to the story that is It is monofilament in rare cases.

Dawood concluded by saying that the novel has a specificity as it is an art that needs an experienced and patient recipient, and here a question arises about the role of theater, which is watched tens or even hundreds of times by the audience of poetry, the story and the novel.

It is noteworthy that the writer Faiza Daoud is a member of the Council of the Arab Writers Union. She has many novels and is published in local and Arab newspapers and periodicals.

Mohammed Khaled Al-Khader