Rasha Omran – Creativity and problem coats

In a discussion with friends that took place a few days ago, Siddiq said that an important part of the spread of some Arab writers had behind him reasons related to politics under one form or another, for example, if Mahmoud Darwish had not tackled a problem as important as possible, The fame of Arab poets internationally and internationally only Adonis, whose fame can not be absolute of no way for political or political reasons, has long been a discourse that is at the heart of the Western vision of Arab and Islamic countries, in terms of an enlightening speech, accusing Islam of delay, particularly with regard to and women's rights in general. Naguib Mahfouz, Mohammed Shukri and many others do not go away, even the Arab novelists who write in foreign languages, like Amin Maalouf and Rafiq al-Shami, have a political side behind their fame, no more that reasons as direct as writing about the world. An Arab vision close to Orientalism or inverted orientalism, a political vision in the cultural and social sense.
But why are not other famous people for the same problems, both global and even Arab, not published? Why have the names of many writers disappeared as a result of the brilliance of the issues addressed in their writings? Where is the book of ideologies that dominated the world at the beginning of the second half of the last century? I think the examples are much more than those mentioned in an article, which is at least known to those who are interested in culture and creativity, certainly, who gave value to the names that emerged from the cloak of ideology and big problems, but that has continued with time and has spread and become famous, what goes with the political position, Enlightenment or social, is the Latin American writers who have expressed their nationality towards universality, as well as writers from Japan, China and Eastern Europe who have all suffered from revolutions, wars, occupations, economic development.
The role of European cultural institutions in publishing non-local literary names can not be tolerated, glorified, or treated as innocent, as Siddiqui said a few days ago in our discussion, political reasons and are linked to the cultural cause, which is now very clear and evident with the Arab asylum movement in European countries, a movement which has been accompanied by a large number of organizations active in the field of culture and financed by by European societies and institutions donors, It has achieved a record time They should also be able to write poetry, prose, stories, diaries and novels, provided they talk about the civil war , terrorism and revolution in the country of origin, asylum problems and integration crises in their new societies. In the sense that writing is a right for all and can not be limited to a particular category, and that it is one of the ways of integrating into new life into new societies, there is something to know: the Arab revolutions ended tragically and catastrophically. To more aggressively control Z companies, after passing and eliminating his opponents to death or long detention or death or exile, and began to file terrorism is gradually withdrawing from world trade, having completed his role, and will be installed on the Arab situation as it should appear.
Thus, the funding of these cultural institutions, which have supported dozens or even hundreds of those who deserve to be writers or creators, will soon cease to function, pending another tragedy for other peoples: who will there remain those Arab writers supported by these institutions and what will be their fate? Certainly, that will complete the true creator whose creativity exceeds the problems of the moment and gets up creatively, far from the carriers of other problems. The fate of those who rely on what these institutions are asking for is forgotten, as are many people who no longer have it.