Damascus-SANA
The novelist Dr. Hassan Hamid derives the contents of his novels from the portable Palestinian history and heritage, touching through them the reality of simple and deprived people.
Hamid is considered the first Arab novelist to use new artistic writing techniques drawn from the Arab heritage that came in the form of appendices and commentaries, as in his two novels, The Bridge of Jacob's Girls and Come We Fly Autumn Leaves, and the latter derived its technique from the ancient Roman theater.
In the biography of the novelist Hamid, who was born in the villages of Safad in 1955 and studied at the universities of Damascus and Lebanon, there are many awards, including for the novel “Come We Fly Autumn Leaves” issued by the Arab Writers Union in 1992, which won the Souad Al-Sabah Prize for Intellectual and Literary Creativity and Naguib Mahfouz and the novel Bridge of Jacob’s Girls, which was won The same award and his novel Spiny Plant won the Hanna Minh Award, and his novel “The City of God” won the award for the best novel written about Jerusalem.
The novelist Hamid’s attachment to the place is evident in most of his writings, and about that, he said during an interview with SANA, “I, as a Palestinian writer, consider the place as my breadwinner, but the loss of this place as a result of the Zionist occupation and its oppressive force made me turn around it as the dervishes revolve around meanings to spread through my writings my fear for the Palestinian place Because it is subject to campaigns of Judaization every day.”
Regarding the role played by Palestinian literature in resisting the occupation, Hamid explained that this literature belongs to a small geographical area that does not exceed 27,000 square kilometers, but it has an abundant collection of writers from artists and intellectuals such as Emile Habibi, Khalil Baidas and Khalil Sakakini. Without these and their likes, we would not have known resistance literature Nor the Palestinian place.
Regarding the literary reality in Syria, Hamid confirmed that he sees a striking Syrian creative scene in which great creators within the various genres of literature, in addition to what he called a “literary generation” that he finds in emerging names and generations that accompanies some of them and did not stop at the experiences of giants such as Hanna Minh in the novel and Saeed Hourania in the story.
Hadi Omran