PATRICK SAMMUT jintervista lil Gioele Galea dwar Ġo Baħar Jiskura sad-Dlam

 

  1. Huwa korrett jekk ngħid li din hija t-tielet parti minn serje – wara Tħabbat Xtaqtek (2017) u In-Nar għandu Isem (2020) – fejn inti f’għamla ta’ djarju intimu u spiritwali twasslilna l-mixja tiegħek lejn is-solitudni sabiex tersaq kemm jista’ jkun qrib Alla? Il-qarrej li jtemm dan it-tielet volum iħoss ukoll li r-rakkont għad irid jissokta. Xi tgħid dwar dan?

Iva, dan il-ktieb huwa t-tielet parti. Fi Tħabbat Xtaqtek bdejt bi djarju – kien bħala tweġiba għal nota ċkejkna miktuba fuq karta, irrumblata u mħollija fis-serratura tal-bieb tal-eremitaġġ. Dak id-djarju jintemm bil-laqgħa tiegħi ma’ Mirela, l-awtriċi tan-nota msemmija. Hi riditni nirrakkuntalha l-imħabba li kelli f’ħajti.

F’In-Nar għandu Isem  għalhekk, immur lura fis-snin. F’dak il-ktieb nirrakkonta tfuliti u l-adoloxxenza ribelli tiegħi, sal-laqgħa qatt mistennija u qatt maħluma ma’ Kristu. Il-ktieb jieqaf f’dik il-laqgħa, u f’dak li dik il-laqgħa qajmet fija, u lill-qarrej inħallih iħares lejja mbellah quddiem l-imħabba ta’ Alla fi Kristu. Jekk fi Tħabbat Xtaqtek il-qarrejja jsibuni fuq il-muntanja, fejn fil-fatt kien l-eremitaġġ, f’In-Nar għandu Isem isibuni taħtha, nitqabad mad-dubji u l-fantażmi ġo rasi. Imma ħajti ma waqfitx hemm.

Ġo baħar Jiskura sad-Dlam nirrakkonta kif, mil-laqgħa tiegħi mal-Imħabba divina, spiċċajt fl-eremitaġġ, fejn sabitni Mirela. L-eremitaġġ għalija ma kienx ħarba, imma kien l-ispazju li fih stajt ngħix iffukat fuq il-Misteru ta’ Alla, u dan l-ispazju ma fittixtux jien minn jeddi, imma kien riżultat tal-istess laqgħa li kelli ma’ Kristu. Kien sejħa li ma stajtx ma nagħtix widen għaliha, għax li ma ngħixhiex ikun ikun ifisser li ma nsibx paċi fija nnifsi.

Bla dubju, wara l-eremitaġġ ħajti kompliet, sa issa. Jinkitbux kotba oħra jew le, ma nistax ngħid. Ngħid biss li, bħalek, oħrajn diġà semmewli li jridu jafu aktar. Ma nwiegħed xejn. Ktieb, jien niktbu biss meta nkun inħkimt minnu, u ma nkunx nista’ nagħmel ieħor ħlief li nobdi. Sa issa dan għadu ma seħħx; jekk iseħħ, ma jkollix għażla.

 

  1. Ġo Baħar Jiskura sad-Dlam għandu żewġ livelli: dak uman fejn tirrakkonta episodji importanti minn ħajtek, anki dawk familjari, nazzjonali, u internazzjonali, mela waqtiet meta saqajk iżżommhom sodi mal-art; u dak li joħodna f’dimensjoni lil hinn mid-dinja fejn ngħixu ta’ kuljum, dinja fejn hemm is-skiet, ir-riflessjoni, il-laqgħa mal-uġigħ u n-Nar, il-profondità spiritwali. Kemm hu veru dan kollu?

 

Veru għal kollox. Gioele huwa bniedem tad-demm u l-laħam bħal kulħadd. U, bħal kulħadd, jien ukoll ruħ, jien ukoll spirtu. Fid-dinja tal-materja ma ngħixx biss bil-materja, imma wkoll bl-ispirtu. U fid-dimensjoni tal-ispirtu, ma nirfisx biss bħala spirtu, imma wkoll bħala materja. Iż-żewġ livelli huma mżewġa,  jekk nista’ nitkellem hekk; it-tnejn jagħmlu tessut wieħed. Ma nħoss ebda qasma fija bejn iż-żewġ livelli, għax livell jinforma lill-ieħor, u vice versa. Jien u ngħid dan ma nistax niċħad il-fatt li ħafna drabi dak li jseħħ fir-ruħ ma jkollix kliem adegwat għalih. F’dan il-kas ma jkunx ifisser li l-ġisem ma jkunx ħa sehem ukoll f’dak imġarrab fil-profond; għax b’dak li jkun seħħ hemm ikun bħalkieku instamat. Tismit ta’ din ix-xorta mhux talli ma jaqtgħekx mill-art, talli jżidlek is-sens tat-toqol tal-art.

 

  1. Il-ħolm, imma anki ċerti viżjonijiet, li tirrakkonta dwarhom. Kemm kellhom piż f’ħajtek dawn?

Dawn kellhom piż biss meta seħħew fil-qalba ta’ ruħi, fl-essenza tagħha. Dak li jseħħ f’dik il-qalba mhux talli ma tkunx tista’ tinjorah, talli jaħkmek għal kollox; mhux talli ma tinsiehx, talli ma jitilqek qatt, u jgħaddu kemm jgħaddu snin issibu hemm, ifannadlek ħajtek u jmexxik.

 

  1. Min hija Mirela? Hija biss dik li tindirizza fil-ktieb? Hija l-istess persuna li tindirizza f’paġna 59 meta tikteb, “Nistħajlek diġà qtajt nifsek taqrani.”?

Mirela hija dik li ltqajt magħha fl-aħħar tal-ktieb Tħabbat Xtaqtek, u li minħabba fiha nkitbu dan il-ktieb u ta’ qablu. Madankollu huwa fatt li hi saret ukoll il-qarrejja kollha tiegħi. Illum huma l-qarrejja li jkomplu jagħmluli l-mistoqsijiet li żgur kienet tagħmilli hi  li kellha tara ’l wiċċi mill-ġdid.

 

  1. Il-proża tiegħek tfakkar ħafna fil-kitba ta’ Thomas Merton, filwaqt li l-versi tiegħek ifakkruni fil-versi ta’ Patri Marjanu Vella. Kemm fil-fatt influwenzawk kittieba bħal dawn?

Liż-żewġ awturi qrajthom, imma kemm influwenzawni diffiċli ngħid. Kif tasal tkejjel? Emminni, ma nafx. Li nista’ ngħid hu li jien, naqra x’naqra jrid ikollu reżonanza intima fija biex naċċettah bħala tiegħi. Żgur hu li bil-kitba tiegħi jien ma tlaqtx mill-qari tagħhom; tlaqt mill-esperjenza personali tiegħi, u jekk, pereżempju, tkellimt min-nar, dik il-metafora ma’ tahielix dan jew dak l-awtur, imma l-istess ħsus li kont inħosshom jiddivorawni. Hekk ukoll jekk tkellimt mis-skiet, dan għamiltu mis-skiet li kien jaħkem lili u mhux mill-esperjenza li ħaddieħor seta’ kellu tas-skiet. Ma nħossnix bnejt fuq awturi oħra; inħossni biss kumpann tagħhom, naqsam magħhom f’Misteru wieħed li jisboqna lkoll.

 

  1. Għaliex ħassejt il-bżonn li tikteb dan kollu? Kemm hu importanti għalik li ktibt dan kollu proprju bl-ilsien tagħna, l-ilsien Malti? Għalik il-kelma miktuba hija ‘skiet’?

 

F’kapitlu 76 nirrivela min hemm tassew wara kitbieti. Ma kienx bżonn tiegħi li nikteb; il-bżonn kien li nobdi. Nistqarr miegħek li ġieli xtaqt li qatt ma ktibt xejn. U llum ma ngħidx hekk għall-fatt wieħed biss: għax li ngħid ‘nixtieq li qatt ma ktibt xejn’ kien ikun ifisser ‘nixtieq li qatt ma obdejt’. Illum inħossni ppaċifikat mall-att tal-kitba, u mal-ubbidjenza li timponi fuqi.

Meta niġi għal kitba bħal din, jew għal kitba tal-poeżija, ma jaħkimnix ħlief l-ilsien Malti. Lanqas jiġini f’moħħi li nikteb bi lsien ieħor. Donnu l-Malti hu l-ilsien ta’ ruħi; hu l-Malti l-ilsien ta’ ħsusi.

Iva, għalija l-kelma miktuba hi ‘skiet’. U hi skiet għax tabilħaqq tqum mis-skiet. Hi kelma li llum naf li ma tiksirlix is-skiet li ngħammar fih. Għax ma hix ħsejjes; imma hi espressjoni ta’ qofol li ninsab miexi lejh daqs kemm ninsab diġà ġo fih.

 

  1. Jista’ jkun li l-kitba b’xi mod isservi bħala ‘ankra’ imma anki ‘qlugħ’ matul il-vjaġġ ta’ tiftix li inti – spiss meħud minn sens ta’ insikurezza jew vulnerabbiltà umana – tagħmel?

Jidhirli li aktar milli s-sens tal-insikurezza hu s-sens tal-vulnerabbiltà li kontinwament jeħodni. Quddiem il-Misteru ma nistax ma nħossnix vulnerabbli. Kollox hu ikbar minni; kollox jisboqni. Hija vulnerabbiltà li ma nistħix minnha, għax hi l-verità tal-qagħda tiegħi bħala bniedem.

Iva, xi drabi l-kitba hi ‘ankra’, u drabi oħra hi ‘qlugħ’; u sew meta hi ‘ankra’, u sew meta hi ‘qlugħ’, hi dejjem spazju ta’ rivelazzjoni. Fis-sewwa kollu, bil-kitba nħossni nħares lejn il-ħajja, inħossni nagħrafha, inħossni nogħdos fiha, inħossni niskopri d-disinji u l-profonditajiet tagħha.

 

  1. Kelma li tirrikorri spiss hija “qiegħ”. Xi tfisser għalik?

B’ “qiegħ” jien nifhem il-qalba, il-qofol, iċ-ċentru. Nifhem il-punt ġewwieni, il-punt intimu li ’l ġewwa minnu ma hemm ħadd iktar ħlief Alla nnifsu. U b’Alla bħala ċ-ċentru ta’ dal-qiegħ, dal-qiegħ hu intuwit bħala qiegħ li ma għandu ebda qiegħ. F’dan il-“qiegħ” il-menti ma jreġux. Madankollu, ruħi ma togħtorx. Moħħi iva; ruħi le. Ruħi għajnejn miftuħa, u m’għandhiex biex tgħatti lilha nnifisha quddiem il-Misteru ta’ Alla.

 

  1. F’paġna 220 hemm il-mistoqsija, “Dan f’sensih?” Qisu hemm linja li tifred bejn il-bżonn tal-esperjanza tat-twaħħid komplet ma’ Alla fuq naħa, u l-ġenn fuq l-oħra, jew le? Reazzjonijiet tiegħek?

Għadni kemm aċċennajt għall-fatt li r-ruħ tifhem/tesa’ aktar milli jifhem/jesa’ il-moħħ. Dak li tara ruħi mhux dejjem jinfelaħ minn moħħi. Din l-esperjenza diffiċli ħafna npoġġiha fi kliem. Madankollu din ngħixha.

Forsi aktar milli linja li tifred hemm xifer, u dan ix-xifer f’xi waqtiet jinqabeż. Bħal meta għandek tazza u wara li tkun imlejtha sax-xfar tibqa’ tferra’ l-ilma fiha. Il-fawran jidher ħela; u l-ħela jidher ġenn. Ġenn, imma għal-loġika tal-ġisem u mhux għal-loġika tal-ispirtu.

Hemm l-esperjenza ta’ sebqa, imma wkoll it-tensjoni li din l-esperjenza toħloq kemm fil-bniedem li jġarrabha kif ukoll f’dawk li jippruvaw iħarsu fil-fond fit-tali bniedem.

Il-mistoqsija li kkwotajt mill-ktieb inti, qamet f’ras il-monaku li lilu kont qed nagħti rendikont tal-esperjenza tiegħi. Naf – għax deher ċar f’ħarstu – li staqsa kontx f’sensija / f’sikkti jew le. Ir-raġuni kienet li fija kienu qed jinqabżu x-xfar, u hu ma setax jifhem kif dak seta’ jkun.

Jien ukoll, kien hemm drabi li għamilt l-istess mistoqsija dwari nnifsi. Jew aħjar, aktar milli jien, kien moħħi li għamilha. U ruħi dejjem weġbitu bil-mod qawwi tagħha, hekk li l-mistoqsija tiegħu qatt ma kienet tassew dubju li jilħaqni sal-qalba. Jidhirli li fil-ktieb innifsu dan nitkellem dwaru wkoll.

 

  1. L-Alla li spiss iddur lejh jibqa’ sieket. Dan joħloq fik uġigħ, forsi anki disperazzjoni. Kemm hu veru dan?

 

Fis-sewwa kollu, fil-ġrajja tul il-ktieb Alla ma jibqax sieket; fil-ktieb Alla jitkellem bis-skiet tiegħu. Is-skiet tiegħu kien kelma li mhux dejjem ridt nismagħha, u r-raġuni li ma ridtx nismagħha kienet għax mhux dejjem għoġbitni. Alla kien imtarrax għal talbi; imma dan kien biss għax dak li ridt jien kien il-maqlub ta’ dak li riedni Hu. Hu amarli ħaġa, u jien ipprotestajt u bkejtlu li ridt ħaġa oħra. Għax ma bidilx fehemtu skont fehemti stajt ngħid li Alla ttarrax għalija, imma fis-sewwa kollu kont jien li ttarraxt għalih.

Dak li kien qed jintalab minni, iva, ikkawżali uġigħ; imma dan l-uġigħ tripla minħabba l-fatt li jien żammejt iebes u ssilitt biex tgħaddi ta’ rasi. Imma mbagħad meta ntlaqt sibt il-paċi. Kien hemm li s-skiet ta’ Alla laħaqni bl-elokwenza tiegħu.

 

  1. Xi tfisser eżattament meta tiddefinixxi lil Alla bħala “Alla dlam” (p. 232)?

Id-dawl li għajnejna jaraw huwa d-dawl maħluq. Imma Alla, li hu dawl fih innifsu u minnu nnifsu, mhuwiex maħluq. Alla hu dawl li għajnejna f’wiċċna ma jistgħux iħarsu lejh u jibqgħu ma jitgħamxux. Meta qed ngħid “Alla qabel kull dawl. Alla veru. Alla dlam” m’iniex niddefinixxi lil Alla bħala dlam, imma qed ngħid li lil Alla rridu fil-Verità tiegħu nnifsu. U jekk din il-Verità tgħammixni, irrid nitgħammex. Anki jekk it-tgħammix jagħmini, xorta dik il-Verità rrid, u mhux ħaġ’oħra. Nipreferixxi l-Verità li tweġġagħni milli l-ħolma li tpaxxini. Għalija l-Verità hi aktar mixtieqa mill-gost. Huwa f’dan is-sens li  ngħid li rridu “Alla dlam”. Alla li jien nista’ naħkem hu alla ridott, u għalhekk mhuwiex Alla tassew. Iva, Alla tassew jagħmini, għax jgħammixni; ikun fid-dlam li jiġi mit-tgħammix li nsib lili nnifsi fil-verità tiegħi nnifsi, bħala ħlejqa maħbuba.

 

  1. Poeżija (anki permezz tal-ġabriet poetiċi varji li ppubblikajt) u proża t-tnejn jikkontribwixxu biex iwasslulna l-esperjenza t’Alla li hemm fik u madwarek. Xi jmiss wara Ġo Baħar Jiskura sad-Dlam?

Ma nazzardax ngħid għax – anki jekk għandi xi xogħlijiet lesti jew għaddejjin – ma nistax inkun ċert tassew xi jmiss. Inħalli ż-żmien jurini, u fuq kollox inħalli lil ruħi ddawwalni u tmexxini.

 

Patrick Sammut, editur IL-PONT, rivista letterarja virtwali sa mill-2012.

 

/by

Avian symbolism in Unsilenced – Poems for Palestine

Birds have long been powerful symbols in literature. The imagery of birds has been used to convey complex themes and emotions, allowing writers to explore the depths of human experience. In war poetry, birds often symbolise both the longing for freedom and the sombre realities of conflict, often serving as powerful metaphors for hope, resilience, and the fleeting nature of peace amidst chaos.

In the anthology Unsilenced – Poems for Palestine, several poets often use the fragile yet stubborn figure of the bird to express their grief. In Lana Derkac’s poetry, birds become tender mourners and gentle healers whose song “wraps up the bones they find /… / as if providing them with new tissue,” an elegiac imagery that repairs flesh with music. Zeynep Karaca, on the other hand, utilises the avian symbol through a single, fleeting moment of Edenic peace: “the bird singing in the garden” conveys a sense of suspense, since in its fragility, it is dangerously poised on the brink of violence. Similarly, Sonia Maddouri’s “cooing of a dove on festive days” drapes peace in memory and ritual; it is as if the dove’s gentle yearn is merely emphasising the bitter absence of celebration. Shirani Rajapakse likewise associates “the sounds of gulls” with the idea of a promised peace which, till now, persists in its elusiveness.

In other poems of the anthology, avian imagery shifts from comforting to menacing, mirroring Palestine’s brutal reality. Birds become dark omens rather than symbols of hope. Ridvan Ardic’s image of black swans choking in a strait suggests the idea that even the most extraordinary creatures suffocate under siege. Furthermore, Franca Colozzo’s birds are agents of death; with her “Black Ravens” that “sow hatred,” she recasts these black birds, once tied to death, as active symbols of human malice. In another poem of hers, she even describes how the “crow’s wings” brush “against angel wings” – a salient imagery that dramatises the collision between the oppressors’ wickedness and the victims’ sanctity. Abigail George’s stark imagery depicting “skulls of birds” reduces nature itself to mere bones, a visceral emblem of mortality and violence. Jeftimiljević Lilić turns the dove – traditionally a symbol of peace — into a relentless black observer, hovering as a portent of doom rather than hope, whilst Sonia Maddouri’s imagery of “birds pecking the heads of the Bereaved” and Marwan Makhoul’s vultures swooping down, on the other hand, transform grief into spectacle. Finally, Mirela Leka Xhavi’s description of the cuckoo’s lament, presented as both curse and echo beyond the grave, blends folklore with the supernatural, framing sorrow as a spectral refrain that haunts the living. Together, these darker avian symbols dramatise how war warps nature’s song into silence, flight into entrapment, and hope into horror.

 

Across several poems in this anthology, birds seem to trace the fragile arc of Palestinian life from birth to death. Josie di Sciascio-Andrews uses an avian extended metaphor to create a contrast between the innocent children “hatching in mine fields” and the perilous setting imposed on their lives. Marwan Makhoul uses similar symbolism when he depicts the idea of “two dove’s eggs / to hatch, male and female, from me and for me,” turning each birth into a hopeful, almost sacred, gift amidst military conflict. The avian metaphor is also utilised in the final stages of life. Ghassan Zaqtan’s euphemism, “when the birds sleep,” turns death into a collective lull, a moment of sorrowful stillness that blankets the living. Franca Colozzo’s elegiac use of avian register transfigures the fallen into a silent, feather-light procession: “Wings spread to the wind, they rise / In a silent procession, / Drifting like feathers, / They ascend into flight / From the hospital in Gaza.” Together, these poetic images chart a cycle in which hatching represents miraculous beginnings, sleep signifies gentle passage, and flight enacts the soul’s ultimate liberation.

In these verses dedicated to Palestine and her people, birds carry the weight of hope and grief across every line. Some poets cast them as gentle healers or beacons of inner compassion, wrapping loss in song and carrying fledgling lives through war-torn streets. Others summon darker wings —ravens that sow hatred or vultures that feast on despair. Yet, through images of hatching, peaceful sleep and final flight, these verses trace a full circle. This anthology suggests that the bird endures as one of the most potent symbols of resilience and release. As Mehmet Murat Ildan once wrote, “Wherever there are birds, there is hope.”

 

Dr David Aloisio

/by

Bejn Ramel u Ċagħaq poeżiji ta’ Ġorġ Borġ

Kumment ta’ Tarċisju Zarb

 

Jinħass li għal din il-vuċi poetika, il-poeżija hija intimitajiet istantanji, li jingħataw vuċi permezz ta’ lsien, li ngħidulu Malti, u li fil-qofol tiegħu huwa jagħmel dak kollu b’mod sintetiku. Għaldaqstant, aktarx iva milli le, il-poeżija ta’ Borg m’hijiex sintattikament jew ritrattistikament iffullata, jew densa, imma, hija fil-forma ta’ ritratti uniċi, li aktarx iva milli le, qegħdin hemm biex permezz tal-analoġija, il-metafora u aspetti retoriċi oħra ta’ tixbih iwassal xi tip ta’ dehra. Ħass. Emozzjoni. Forma mentis. Flimkien, għaldaqstant, dawn il-poeżiji ta’ Ġorġ Borg, hawnhekk mgħammda bħala dawk li jinsabu bejn ir-ramel u ċ-ċagħaq, b’dak kollu li jikkonnotaw dawn iż-żewġ materji, joffru lilu u lilna l-qarrejja tagħhom, b’xi tip ta’ leħħ filosofiku, spiritwali, emozzjonali jew/u konjittiv.

 

Il-vuċi poetika li nssieħbu magħha f’dawn il-linji, hi vuċi poetika, li llum il-ġurnata tista’ tintqies bħala li hija sintomatika tal-istess Ġorġ Borġ. Fiha r-ritmiċità u l-parallelilità tagħha. Fiha il-persona/ae tagħha, li jinstemgħu jiddeliberaw dwar il-fenomenoloġija-ħajja, u kif din tinstema’ tithwieden fil-qiegħ subkonjuż-konxju tal-poeta.  B’dan il-mod aħna nkunu f’qagħda li nkunu nistgħu nisimgħu xi ftit minn dawn l-ilħna, li jwasslulna xi tip ta’ riflessjoni, perċezzjoni, qagħda mentali, filosofija dwar il-ħajja, li fl-istess qosor tagħha, tiġbor f’sinteżi l-fenomenu-ħajja. Dak il-fenomenu li għaddej il-ħin kollu quddiemna u madwarna, u wisq aktar ġewwa fina, hekk kif il-ħsieb jgħadd jitħsieħeb bejnu u bejn ruħu biex jipprova jifhem xi ftit minn dal-fenomenu li ngħidulu ħajja.

 

U dawn t’hawnhekk huma xi ftit minn dawn il-‘ħsejjes intimistiċi’, tal-poeta, li jitfgħu dawl fuq qiegħ-qiegħu, fuq l-iventi ta’ moħħ li jsawwar narrattiva b’ ‘kapitli’ minuskuli li jirrakkuntaw ‘kożmoż’, il-kożmoż ta’ ġo fina.

 

U dan kollu jidher minn dawn l-istanti illuminanti, istanti li kull wieħed jitfa’ dawl fuq ir-retroterra ta’ din il-vuċi poetika għaddejja tpinnen u tittekstja dal-emozzjonijiet, liriċizzjonijiet u konjizzjonijiet li jisparkjaw minn ħin għal ieħor fil-qiegħ nett labirintuż ta’ dinjet il-poeta.

 

Fil-versi li ġejjin, ngħidu aħna l-vuċi poetika tirrifletti fuq it-tama, u għalkemm aktarx iva milli le, hemm iċ-ċans li norbtu lil-lejl mad-dlam u t-telfa tat-tama, hawnhekk jinħass xort’oħra:

 

Għad illi l-għabex qiegħed magħna…

(………..)

le, le, m’aħniex se mmewtu t-tama

li l-lejl, b’xi mod, se jkun ħanin.

(Għad illi p. 23)

 

Min-naħa l-oħra, il-poeta li japprezza l-ħbiberija jħossu bħal qisu tela’ l-ġenna, meta bla mistenni, jiltaqa’ ma’ ħabib antik mill-imgħoddi:

 

Kien ’il bogħod. Beda jsellimli.

Wara rajtu jitbissimli.

(….)

Qalb ma’ qalb kienet dil-laqgħa.

F’ħin bla ħin. Bla mistennija.

(Ħabib ta’ tfuliti, p. 30)

 

Jiġu waqtiet madanakollu li l-vuċi poetika tixxennaq għall-katarsi, għat-tindifa, tindifa li tixrob mill-analoġija mal-ħasil ta’ tarbija:

 

Bħal qisni tarbija:

aħsilni,

libbisni,

wennisni

b’dak dawlek setgħani

għax bih tkun teħlisni

mid-dlam li jrid donnu jiblagħni.

(Bħal tarbija p. 47)

 

U t-tama tibqa’ minkejja kollox. Hemm f’kull ħaġa li nagħmlu fil-ħajja…f’kull sekonda ta’ ħajjitna, sens ta’ fekondità, u għaldaqstant, il-ħela mhijiex bilfors is-sine-qua-non ta’ kull istant ta’ ħajjitna.

 

(…..)

Imbagħad leħen donnu jgħidli:

Kull sekonda,

għad li dejjem taf ħajjitha

moribonda,

tista’ tkunlek kemm moħlija,

kem fekonda.

(Is-sekondi p. 55)

 

U sadattant il-ħajja tibqa’ għaddejja, u tasal saħanistra biex tixrob mill-metafora tat-torri li waqtiet jgħinna biex nogħlew ’il fuq, u drabi oħra biex dak li nkunu ħlomna jispiċċa fix-xejn.

 

Il-moħħ kultant jeħodna

fejn irid

 

u nibnu torrijiet

mingħajr taħbit.

 

Nagħmluhom jilħqu s-sħab

Li jkun għaddej.

 

U minnhom, ħin bla waqt,

ma jibqa’ xej’.

(Torrijiet p. 65)

 

U għall-poeta, għal kwalunkkwe poeta, il-kelma hija xi ħaġa ‘sagra’, u għaldaqstant wieħed jista’ jifhem, xi jwassal biex il-poeta jbus il-kelma li tkun spiċċat imkażbra.

 

Kien hemm xi ħadd

li neżża’ l-kelma,

xeħetha fl-art,

każbarha,

u wara

kiesaħ u biered telaq

daqskieku xejn ma ġara.

 

U jien xħin rajtha

Tbaxxejt u ġbartha,

Mit-trab farfartha

U mbagħad kif stajt libbistha.

U biex nagħmlilha l-qalb

Għannaqtha u bistha.

(Il-kelma mneżżgħa p. 81)

 

U l-illuminazzjoni, il-waqt epifaniku, taf hija wkoll lill-poeta, li hekk, għal mument uniku, iħossu bħal qisu ttrasfigurat u mdawwal b’dawl li jsostni u jibni.

 

Kun af li jista’ jkollok

mument illuminat

li jasal bla mistenni

fil-moħħ li jkun strumblat.

 

U dak il-ħin titkeċċa d-dalma

u ssib li l-moħħ ikun ikkalma.

(Mument illuminat p. 101)

 

U ma jistax jonqos li fil-kredu poetiku ma tidħolx il-fidwa – ir-redenzjoni – il-poeta li jħossu qiegħed jinfeda, hawnhekk immetaforizzat permezz tal-weraq ta’ siġret l-istess ħajtu.

 

F’telqa ta’ sajf mill-eqqel

f’xi waħda mill-għodwiet

taf tasal żiffa friska

li tilħaq ħelu ħelu

xi werqiet:

 

werqiet minn siġret ħajti

li jistennew dak il-mument

li fih iħossu ’l min jifdihom

imqar jekk biss b’xi moviment.

(Żiffa friska, p. 114)

 

Minn dan kollu naraw li għal Ġorġ Borg hija poeżija ta’ istantanjetajiet miktuba bi stil konċiż u dirett, profond u filosofiku, stimulanti u penetranti, li darba waħda l-qarrej jiltaqa’ mal-intuwizzjonijiet li jitberrhu bejn il-linji, jibqa’ jirreżona f’moħħu u ħsibijietu għal żmien twil. B’dan il-mod kontenut u forma jintħietu ma’ xulxin biex iwasslulna poetiċità unika ta’ poeta, li llum il-ġurnata jintqies bħala wieħed mill-poeti ewlenin ta’ gżiritna. Il-paċi miegħek. Miegħek ukoll.

 

/by

ID-DAR TAD-DELLIJIET ta’ Salv Sammut, Horizons, 2025

Xi riflessjonijiet jien u naqra r-rumanz.

B’dan ir-rumanz tiegħu Salv Sammut joħodna fid-dinja tal-pubblikazzjoni tal-ktieb, b’wieħed mill-personaġġi jkun pubblikatur u ieħor il-kittieb. Mela hawn għandna ktieb li jittratta d-dinja tal-ktieb, dwar il-proċess tal-kitba u l-karatteristiċi li jagħmlu storja tajba. Il-grigalata li għaddejja barra b’xi mod diġà tirrifletti l-problema li l-pubblikatur għandu jħabbat wiċċu magħha. X’inhi eżattament?

Sa mill-ewwel paġna l-qarrej jifhem li l-istil ta’ kitba huwa mexxej, u n-narrazzjoni fl-ewwel persuna. Insibu riferiment intertestwali għall-kittieb Edgar Allan Poe. Hemm il-kelba li tħoss affarijiet li l-bniedem jasal għalihom iktar tard. Dan kollu jgħin sabiex Sammut iżomm il-qarrej fuq ix-xwiek jaqra. Minkejja li r-rakkont huwa ambjentat fiż-żmien preżenti, taħkem atmosfera gotika f’rabta mad-dar. Riferiment intertestwali ieħor isir f’paġna 243 meta tissemma l-kittieba Irlandiża kontemporanja, Cecilia Ahern. F’paġna 251 tissemma kanzunetta ta’ Acker Bilk, “Strangers on the shore”, mela din id-darba m’għandniex test letterarju imma test liriku.

Jiġi inkluż l-element oniriku, mela d-dinja tal-ħolm, u dan f’rabta mas-seħer tal-baħar. Fil-ħolm hemm twaħħid bejn elementi immaġinattivi u oħrajn letterarji, bejn il-fantasija u l-kitba, imma anki logħba bejn ir-reali u s-surreali. Dan biex nippruvaw nifhmu minn fejn titwieled il-letteratura. Ir-ritratt li jiskopri n-narratur jorbot ir-realtà mad-dinja tal-ħolm: fiż-żewġ każi hemm tfajla preżenti. Hemm drabi meta Sammut iħallat il-ħelu mal-morr, l-oniriku mar-reali, l-idilliku mal-vjolenza domestika. L-oniriku jerġa’ aktar ’il quddiem fir-rumanz, meta l-omm tidher lil bintha f’ħolma: x’riedet tgħidilha bil-ħarsa tagħha? Lura għad-dinja reali l-bint tinħakem minn iktar dubji u mistoqsijiet li għalihom tesiġi tweġibiet.

Interessanti l-introduzzjoni tal-manuskritt li nstab fid-dar. Dan hu rakkont miktub fit-tielet persuna singular, miktub mill-eks sid tad-dar. Mela għandna rakkont ġewwa rakkont ikbar (dan miktub minn Salv Sammut innifsu). Fil-parti intitolata “L-ewwel ġabra ta’ tifkiriet” Sammut idaħħalna fil-kontenut tal-manuskritt (bl-ismijiet tat-titli miġjubin fil-korsiv u ittri minuskoli) u b’hekk il-qarrej jittieħed lura fiż-żmien. Niltaqgħu ma’ Benjamin (nieqes mill-vista), Edith u żewġha Samwel (sakranazz u vjolenti). Jidħol l-użu tad-diskors dirett. Nindunaw li s-sitwazzjoni domestika mhi xejn sabiħa. Min-naħa l-oħra l-baħar hu l-element li jserraħ mill-piż tal-problemi umani. Hu anki l-imkien fejn jinkixfu veritajiet tal-imgħoddi u jseħħu ħwejjeġ li minħabba ċerti raġunijiet ma seħħewx fl-imgħoddi. Għalhekk, bil-mod il-mod Sammut jikxef dak li seħħ fl-imgħoddi fid-dar tad-dellijiet.

Hemm drabi meta ningħataw il-perspettiva taż-żewġ ulied bniet  – Mildred u Caroline – li jkollhom jgħixu tterrorizzati f’dan l-ambjent, l-iktar iż-żgħira Caroline li spiss il-missier xurban iħares bl-ikrah lejha. Il-qarrej jistaqsi, għaliex dan?

Il-kunflitt hawn isir mekkaniżmu letterarju ieħor li jżomm lill-qarrej jaqra bla ma jegħja jew jiddejjaq. Hemm elementi oħrajn li jikkontribwixxu, fosthom l-għajbien ta’ persuna, l-investigazzjoni, l-introduzzjoni ta’ kundizzjoni mentali bħalma hija d-dimensja jew il-qtugħ mir-realtà immedjata, u anki l-element sopranaturali jew inspjegabbli. F’rabta ma’ dan tal-aħħar nistaqsu x’inhuma d-dellijiet li jissemmew, u kif il-ġiżirana bidlet postha? F’kapitlu 42 naraw lil Edith – li tkun ilha snin twal tgħix fis-solitudni – waqt passiġġata fil-masġar li tidħol fi djalogu ‘mistħajjel’ ma’ Benjamin li jispjegalha ċerti affarijiet kif verament seħħew fl-imgħoddi. Hawnhekk l-assenti jinbidel fi preżenza.

Sammut jintroduċi iktar sorpriżi u tensjoni: stupru u inċest bejn missier u bint, u jsegwu dipressjoni emozzjonali u psikoloġika, u aktar tard, tqala mhix mistennija. Fejn tidħol it-tema tfulija naraw li mhux kollox ward u żahar. Minkejja dan, fir-rakkont naqraw ukoll dwar tiġrib pożittiv bħal imħabba, altruwiżmu u s-sens tas-sagrifiċċju. F’kapitlu 43 hemm il-mara għaddejja waħedha fix-xatt – id-dell taz-‘zija’ Caroline li jinsisti li toħroġ għad-dawl il-verità –  u li ħadd ma jaraha ħlief Amanda. Dan kollu jqanqal iktar interess fil-qarrejja, mela jservi bħala spinta lid-dieġesi jew storja tar-rakkont.

Aktar ’il quddiem Sammut jintroduċi flasback ieħor u joħodna aktar lura fiż-żmien, meta Benjamin u Edith kienu għadhom żgħażagħ fejn tinkixef ir-rabta bejniethom fil-passat. Dan kollu jibda minn oġġett, eżattament ħannieqa magħmula mill-qxur tal-bebbux li Benjamin kien għamel lil Edith.

Meta tieqaf l-istorja rrakkuntata fil-manuskritt nittieħdu lura fil-preżent, u l-ismijiet tat-titli tal-kapitli jerġgħu għall-ittri kapitali fil-grassett. Nerġgħu lura għan-narrazzjoni fl-ewwel persuna singular. In-narratur hawn jgħaddi mill-istess ħsus u esperjenzi li ngħaddu aħna l-qarrejja, fosthom il-kurżità u l-istennija. Hemm aħna li qed naqraw ir-rumanz ta’ Sammut, imma hemm ukoll in-narratur-pubblikatur-protagonist li qed jaqra l-manuskritt misjub. Hemm ukoll l-idea li l-awtur tal-manuskritt juża psewdonimu, mhux ismu proprju, għax mhux qed ifittex il-fama personali imma jixtieq biss ifakkar dawk li  xi darba għexu fid-dar.

“It-tieni ġabra ta’ tifkiriet – Diżillużjoni” terġa’ toħodna lura għall-manuskritt. Għall-ewwel l-ispazju hu dak ta’ Pariġi –  waqt btala qasira – u hawn jidħol indirettament Salv Sammut li nafu li siefer bosta drabi u dar ħafna mkejjen fl-Ewropa u lil hinn. Naqraw mill-perspettiva ta’ Samwel li bħal jinbidel u jikkonverti; omm li ma trid bl-ebda mod it-tarbija li għadha kemm twieldet; persuna li titħalla tinġarr mill-mewġ qawwi tal-baħar (suwiċidju?). Il-baħar din id-darba hu dak lil jisraq ħajja umana, imma anki sodda fejn jista’ jinsab il-kenn etern. Fir-rumanz il-baħar jisraq il-ħajja ta’ tliet karattri. Hemm is-sens taż-żmien li jinħass il-ħin kollu għaddej.

Min-naħa l-oħra, il-masġar (Kapitlu 30) jinftiehem bħala post li wieħed jistkerrah, bħalma jiġri fil-ħrejjef: “… u t-tnejn għajtu u daħku sakemm waslu biswit il-masġar. Ħarsu lejh u ma tkellmux. Is-swidija li s-siġar folti kienu jixħtu, ġegħlithom mingħajr ma jafu għaliex jisktu mill-għajjat tagħhom.” (184) Ftit aktar ’il quddiem naqraw: “Dawk is-siġar kbar u twal bil-friegħi u zkuk miftuħin bdiet tistħajjilhom mostri ħerġin mill-ħrejjef li kienet tħobb taqra imma xorta titmeżmeż minnhom.” (185) Gilbert u Amanda b’xi mod hawn ifakkru fil-ħrafa ta’ Hansel u Gretel. Hemm saħansitra d-dar f’nofs il-masġar, element ieħor rikurrenti fil-ħrejjef tradizzjonali.

Il-masġar jintrabat ma’ aspetti pożittivi wkoll: joffri kenn lil Samwel ladarba jixjieħ u ilu jgħix waħdu. Ironikament naqraw li, “ Mistur f’dak l-imkien kien iħossu protett mill-ilpup ta’ barra l-masġar”, meta sa ftit żmien qabel kien hu stess ‘lupu’. Id-dellijiet li spiss jissemmew jistgħu jirrappreżentaw is-sens ta’ ħtija li Samwel jaħrab minnu. Anki l-għadira f’nofs il-masġar għandha karatteristiċi msaħħra u tfakkar fil-ħrejjef.

Bħala parti mit-teknika narrattiva Sammut jalterna l-azzjoni li sseħħ fi spazji differenti: daqqa fid-dar ta’ Mildred, daqqa fil-masġar jew qrib il-baħar, daqqa fi spazji magħluqin bħal xi bar. Apparti hekk, aktar tard fir-rakkont, Sammut bħal iġiegħel lill-qarrej jitħassar lil dak li xi darba kien bla ħniena u ħajjen, imma joħodha anki kontra dik li xi darba kienet vittma.

Lura għar-rakkont ewlieni mill-ġdid u għalhekk waqfien mill-qari tal-manuskritt u mill-ġdid mal-kittieb. Il-pubblikatur jikkummenta dwar il-karatteristiċi u l-valur tal-manuskritt li qed jaqra. Din hija l-parti metanarrattiva tar-rumanz preżenti. Niskopru li l-istess spazji li jissemmew fil-manuskritt imur fihom ukoll il-qarrej-pubblikatur, fosthom ir-ramla, il-baħar, il-masġar, l-għolja, id-dar f’nofs il-masġar. Dan hu vjaġġ fiżiku li jagħmel il-pubblikatrur sabiex ifittex lill-kittieb tal-manuskritt. Hu anki vjaġġ letterarju fil-passat meta jaqra l-manuskritt. Il-qarrej jibqa’ kurjuż dwar min hu fir-realtà l-kittieb tal-manuskritt: tgħid Samwel, jew le? Hemm sett ta’ noti li nkitbu, li mbagħad ġew żviluppati f’rakkont mill-kittieb, li mbagħad spiċċaw f’idejn il-pubblikatur. Il-kittieb isejjaħ lid-dar fil-masġar dar ta’ “diżappunt u wġigħ”. (234)

Bil-mod il-mod nifhmu wkoll li dan hu rakkont dwar it-tiġrib ta’ tliet ġenerazzjonijiet differenti. Lejn tmiem ir-rumanz climax isegwi lil anti-climax ladarba toħroġ il-verità tant mixtieqa, imma mhix dik li ssopona u stenna l-qarrej. Sammut, bħala kittieb tal-esperjenza, iħawwar sewwa r-rakkont tiegħu b’ingredjenti varji: il-qarrej jibqa’ sal-aħħar jistaqsi min kien verament missier Amanda.

Fl-aħħar kapitlu naqraw dwar żewġ ġesti simboliċi mill-pubblikatur: it-tfigħ tal-kriżantemi fil-baħar u l-ftuħ tat-twieqi tad-dar sabiex joħorġu d-dellijiet u l-iħirsa minnha. Dan hu rit ta’ tisfija u fl-istess ħin katarsi. X’inhuma l-aħħar deċiżjonijiet tal-pubblikatur: se jibqa’ jgħix fid-dar? Se jippubblikah il-ktieb? Dan kollu f’rumanz ta’ 288 paġna. Bħal dejjem, dan hu rumanz ieħor ta’ Salv Sammut li jżomm lill-qarrej attent u kurjuż sal-aħħar anki billi ma jħallihx passiv imma jinvolvih u jnissel fih ħsibijiet u ħsus diversi waqt il-qari tiegħu. Id-Dar tad-Dellijiet hu garanzija ta’ qarja li toffri ħin ta’ mistrieħ u pjaċir.

Patrick Sammut (April 2025)

/by

Ir-Raġel ta’ wara l-kwinti – Joe Camilleri

Aktar stejjer b’San Ġużepp fi ħsiebi u f’qalbi

Kumment Tarċisju Zarb

 

U n-narrattiva titkellem tgħajjat. Hija dik it-tip ta’ narrattiva li tgħidilna l-istejjer. Stejjer diretti. Sempliċi. Stejjer li jafu lili u lilek. Anke meta dawn ma jiġux mistqarra, kelma b’kelma. Għax in-narrattiva hija aħna.

 

U San Ġużepp, insemmi jew mhux qiegħed hemm. Qiegħed jismagħna. Qiegħed jgħidilna li huwa qiegħed hemm biex isostnina  u jgħinna f’dal-itinerarju li nsejħulu ħajja. Għaliex San Ġużepp mhuwiex ħlief esseri mistiku, li miegħu aħna nistgħu nirrelataw fil-ħinijiet intimistiċi tagħna, hekk kif ngħaddu minn tributarju għal ieħor. Minn waqt ta’ inċertezza, diqa, sussult għal ieħor.

 

U dan huwa sewwa sew li jagħmel Joe Camilleri, awtur li kapaċi jiġbor fil-vuċi narrattiva, uċuh u esseri varji li jgħaddu minn waqtiet għal waqtiet għal waqtiet, li fihom ikollhom il-ħtieġa ta’ sostenn spiritwali. Emozzjonali. Ta’ min lil hinn mill-istorja tiegħu/tagħha, irid isib persona/vuċi li magħha huwa jkun jista’ jaqsam dan it-travalju. Dawn il-waqtiet li jeħtieġu minnhom infushom lil xi ħadd fuq min jorbtu.

 

U San Ġużepp, f’dawn in-narrattivi, jidħol u jixref ta’ sikwit. Huwa ’l San Ġużepp li joffri l-ħajt tal-kenn – ħajt tal-kenn uniku – ir-rifuġju arketipiku għal dal-passiġġieri li niltaqgħu maghom għaddejjin f’dawn in-naħiet ta’ daw’ il-kontradi, naħiet, li ħafna drabi, aktarx iva, milli le, ikunu naħiet li jkunu jeħtieġu lil min jgħinhom. L-għajnuna hawnhekk hija għajnuna fl-intimità tal-individwu, il-koppja, il-ġemgħat li jħossuhom li għandhom jitolbu lil dan il-qaddis, li kif nafu wkoll huwa qaddis li jagħmel parti intima mill-glorja tal-qaddisin, u li aħna nsibu ruħna nirrikorru għalih, bil-vuċi / kif ukoll bla vuċi ta’ sikwit, fil-ħajja tagħna.

 

U Joe Camilleri, ta’ ħassieb-narratur uniku, jagħraf jidħol sewwa sew f’qiegħ il-personae tiegħu, li f’qiegħ qiegħhom iħossu l-ħtieġa tal-medjatur Ġużeppi – medjatur li jġib il-balzmu fej’ jinħass li m’hemmx tama. Personae li tul ħajjithom, b’xi mod jew ieħor, f’waqtiet, b’mod speċjali ta’ qtigħ il-qalb ħassew il-ħtieġa li jirrikorru għalih. U jiġri, li aktarx iva, milli le, San Ġużepp jirrisolvi, jekk xej’ fuq livell intimu-spiritwali, l-angst, it-tbatijiet, in-nuqqasijiet, il-mard u l-bqija li aħna nsibu ruħna matul ħajjitna.

 

U dawn t’hawnhekk huma ftit minn daw’ ir-ritratti ta’ dawn l-istejjer, stejjer li bl-istil mexxej ta’ Camilleri, m’hemmx dubju li jaslu biex jaslu fejn għandhom jaslu fil-profond ta’ kull qarrej li jagħtihom ċans jinstemgħu.

 

Hekk, ngħidu aħna, “Kartolina ta’ Tama” (p.15) tlaqqagħna ma’ koppja li kellhom tarbija li batiet u batiet ħafna, u huma magħha,  imma fl-istess ħin jidher li deher iċ-ċans ta’ fostering, li għal din il-koppja, devota sa qiegħ ruħha ta’ San Ġużepp, setgħet tara, kif anke hi, minkejja t-tbatija li kienu għaddew minnha, issa setgħu jgħaddu għal dan il-patt.

U sadattant nisimgħu karattru minn dawn in-novelli jgħid: “Jien twelidt u trabbejt il-Qala. San Ġużepp kien jorqod u jqum magħna. Fit-tislima li konna ntuh qabel norqdu, u fit-talba li konna ngħidulu kif niftħu għajnejna. San Ġużepp baqa’ dejjem f’qalbi.” / Leħnu miksur issokta jħeġġiġni, “Ħudu. U ibqa’ għożżu għalija.” / U b’xofftejh jirtogħdu, mnn qiegħ qalbu tefa’ bewsa lil San Ġużepp.”  Din is-silta meħuda min-novella “Gwarniċ li mhux tas-soltu” (p. 37) għal darb’oħra turina kif San Ġużepp kellu sehem fil-ħajja ta’ xwejjaħ li ħeles mill-għarqa u kif dan sab ruħu mfakkar fi gwarniċ.

 

“Kellha tkun daqqa” (p.79), min-naħa l-oħra hija storja traġika bi tmiem feliċi, hekk kif bniedem mitluf wara l-każin, u b’theddida minn martu li kienet se titilqu, jispiċċaw, wara li ‘kellha tkun daqqa’, biex jerġgħu jsibu lil xulxin, b’San Ġużepp jgħin f’dan ir-rapprochement.

 

U t-toqba li nsibu f’ “San Ġużepp b’toqba f’qalbu” (p. 105) mhijiex ħlief it-toqba li San Ġużepp lest iżomm f’qalbu u fl-istess ħin jaħfer u jħenn, tgħidilna din l-istorja, għax dik it-toqba li kien hemm f’sidru ma kinetx ħaġa oħra ħlief toqba li kienet riżultat ta’ min ipprova jisraq minn din l-istatwa, u li spiċċa nqabad mill-pulizija.

 

Novella oħra, “Bħal fl-apsidi tal-knisja tal-Imsida” (p.143) min-naħa l-oħra tgħidilna l-istorja ta’ mara li tilfet lil żewġha qasir il-għomor, sewwa sew f’inċident tat-traffiku, u kif fil-ħajja ta’ dan l-individwu San Ġużepp kellhom post partikolari. U kif forsi, minkejja t-traġedja li temmitlu ħajtu, seta’ kellu temma wisq aktar kiefra minħabba l-marda terminali li kienet qiegħda tistennieh, u li sa mewtu, ħadd ma kien għadu ntebah biha.

 

U flimkien ma’ dawn in-novelli nsibu ħafna u ħafna oħrajn, li lkoll flimkien jagħmlu għoxrin novella, li lkoll jixorbu minn dan il-fluss narrattiv kreattiv ta’ personaġġ-kittieb b’għajnejn għarriexa għal dak li jkiddna, isawwarna u jagħtina t-tama.

 

Ta’ min jgħid ukoll li l-unità tematika ta’ dawn in-novelli, turina li għal Camilleri l-kitba tan-novella hija tiftixa kontinwa għal fdalijiet varji ta’ stejjer, aneddoti u avventimenti, li lkoll flimkien jagħtuna b’mod koeżiv u koerenti xi tip jew ieħor ta’ qagħda ta’ ruħ, ispirazzjoni, sens ta’ waqt, żmien jew għoġba.  U dan Joe Camilleri, jagħmlu permezz ta’ dawn l-istejjer li jintħietu flimkien b’enerġija narrattiva unika. B’sempliċità narratoloġika, ta’ kittieb li ħakem stil ta’ kitba, li filwaqt li dejjem issibu jirfinah, imma l-istess ħin, jidher ukoll li dan hu parti mill-istil idjosinkratiku ta’ kittieb, li mhux biss għandu ħakma tal-ilsien, imma wkoll, tan-nozzjoni mistħarrġa, u l-aspetti soċjo-psikoloġiċi-reliġjużi tal-ambjent li jkun qiegħed jiddeskrivi.

 

Għal darb’oħra, għaldaqstant nissuġġerixxi li dawn l-istejjer mhux biss għandhom jinqraw, imma jsiru, għallinqas xi wħud testi li bihom u permezz tagħhom, it-tfal tal-lum, jidħol fil-profond ta’ ethos ta’ kitba unika.

 

Ħajr lil Joe Camilleri li matul meddet is-snin tana kotba oħra fosthom: Solitudni fl-Folla, Fir-rokna tas-silenzju; Żwiemel tar-riħ; Mużajċi tat-tafal; Ir-raġel tas-skiet; Dwal fil-kantini; L-eku tal-ħabbata; Faċċati; Reffiegħa tad-delligħiet.

 

Ħajr ukoll lil Horizons.

/by

The silence, the desert and the darkening sea

(an appreciation of Ġo Baħar Jiskura sad-dlam, by Gioele Galea)

For all of us who were biting our nails, waiting for the sequel to In-Nar Għandu Isem, where the writer leaves us in awe at a supernatural experience that propelled him onto a road of deep conversion wondering what came next, the recently published Ġo Baħar Jiskura sad-dlam does not disappoint. Excelling expectations, it keeps the reader’s eyes glued as to what’s coming next in the autobiographical rendition of the writer’s riveting saga towards the hermitage where Mirela still sits wide eyed, waiting to hear the story. The narrative in his new book picks up from the divine gaze that had just transformed him (“Kienet ħarstu li tatni l-bidu.” p 9). With typical unshackled verve the author proceeds to describe his journey towards his goal step by step, giving us a blow by blow description of his intimate experience. The result is a veritable ode to life in the Spirit, where the experience of God throughout life’s journey is wholesomely exposed as a life worth living.

In Ġo Baħar Jiskura sad-dlam, Galea renders his prose with the balancing skill of a tightrope performer. Choosing his words carefully, he weaves through his story line simultaneously revealing what was happening on his outside as well as his inside: how the one was propelling the other, unveiling two sides of the same coin (his life) in the process. He is careful however to intimate that while on the outside it is he who is acting on his decisions, on the inside it is God who is the agent and actor of his (the author’s) existence, and the arduous episodes he describes occur in reaction to the Divine. Despite the suffering this existence entailed, the author still decides that life, and his existence in God are both “tremendous” (p 202), his living from the bottom of the abyss (il-qiegħ) “beautiful” (p 203) and “profoundly calm” (p 237). And ensconced in the lush green lull of the forest at the Abbey he finds love, peace, and hope (p 237).

Galea’s allegorical style returns in his new book, so does his imagery as well as his rare but precious aphorisms. As we follow him at the start of his journey through light, joy, prayer, sweetness, a sense of direction, and a song that danced in his heart, the road becomes deeper and the darkness denser. He explains to Mirela how “Everything became a metaphor for me, that is to say everything [outside me] started to inform my interior” (Kollox beda jsirli metafora, jiġifieri kollox beda jkellimni minn qagħda ġewwiena. p 85). Striking metaphors that bubble up from the stream of Galea’s script include: dark solitude (p 78), God’s tears (p 82), blinding light (p 88), the desert (p109), the anchor (p 123), the sea lurking around gnawing at [his] naked roots (p149), the clamp (p 224), the nail which for him represents the Will of God (p 224), profound littleness, and intimate silence (p 93). Ravished by his call to silent solitude, the protagonist successively mulls over silence as desert ( p 96), as refuge (p 142), as beginning (p162), and as the space for the Presence ( p 169). The silence at the bottom of the abyss (p 169) which he describes with aplomb, would perhaps be his most intimate articulation of this particular metaphor. Because the bottom of the abyss is for him a paradoxical reference to the top of the mountain whereto he has set his eyes. For Galea, the paradox is a most convenient figure of speech when it comes to his interior life, as he explains to Mirela: that for him the ascent is descent, the apogee is the bottom [of the abyss], death is life and the true light is that which blinds him unto the densest of darknesses (p.12). Among his vibrant metaphors all laden with meaning, the one that stands out is the darkness, a figurative expression which appears in the very title of the book. It is the darkness that he experiences at the bottom of the abyss to which he refers as the pinnacle of God (p 203), a darkness experienced as abandonment which in turn became his refuge (p 31). Hence his explicit reference to his journey towards God as through a darkening sea.

The interior darkness on the spiritual road evokes the words of the Mystical Doctor St John of the Cross, who explains the way towards God as through a dark night, for when God is spiritually near to the soul, the soul experiences Him as “intolerable darkness … for the supernatural light darkens with its excess the natural light.” (Spiritual Canticle, Stanza 13, 1) The aim of the spiritual life as the Mystical Doctor elucidates, is the state of perfect union with God through love, a journey he compares to climbing a mountain. (The Ascent of Mount Carmel, Prologue). Which brings us to the mountain our protagonist is trying to ‘climb’ but is experiencing as “the bottom of the abyss.” This in turn echoes the words of another Doctor of the Church, St Thérèse of the Child Jesus and of the Holy Face, who in her autobiography writes about her own experience of ‘climbing’ towards the ‘top of the mountain’ not by scaling it on the outside, but going forth as through a dark tunnel: “one would have to travel through this dark tunnel to understand its darkness.” (Story of a Soul, Manuscript C, p 5v).

For Galea, God is the Absolute (p 126), the Creator (p 84) who hides in his heart (p 122), and the Cross is central to his personal spirituality: “My God is a God of fire, who carved his face on the central spot of the cross, there where the vertical beam meets the horizontal one.” (“Alla tan-nar hu l-Alla tiegħi – Alla li wiċċu naqqxu hemm, fil-punt fejn l-għuda l-wieqfa tiltaqa’ mal-għuda mimduda” p 74). Ravished by the Love that attracts him, he is adamant that his ultimate goal is nothing short of complete union with God (p 76). Wrapped within the intimate account of his spiritual journey, a message of hope shines through Ġo Baħar Jiskura sad-dlam. That when the Spirit is poured upon us, the wilderness truly becomes a fruitful field (Isaiah 32, 15). That the dream for union with God can be fulfilled despite all obstacles. The key attitude required on the part of each person called to it being one: surrender.

 

Rita C. Grima  M.A. (Melit.), B.A. (Hons.)

21st November 2024

/by

Dak li Tiżra’, Taħsad

Awtriċi:  THERESE VELLA

Pubblikatur:  HORIZONS

 

Dan ir-rumanz sibtu interessanti ħafna minħabba li huwa ambjentat fil-futur, fejn il-passat tiegħu huwa ż-żmien li ngħixu fih aħna llum. Rakkont intriganti ta’ tifla ddisturbata mill-mewt ħesrem ta’ missierha, u t-trobbija li rċeviet wara mingħand ommha. Trobbija li ma tantx ħalliet relazzjoni tajba bejn l-omm u l-bint.

Biss meta ssir tfajla, din xorta waħda tibqa’ tiġri wara l-passat. Xtaqet li ssir taf min kien għamel tant ħsara lill-familja tagħha.  Riedet tiskopri min kien verament dak li kisser il-karriera ta’ missierha biex saħansitra, spiċċa biex anki bagħtu fil-qabar.

Barra minn hekk, dan ir-rumanz huwa kkaratterizzat minn diversi intriċċi ta’ relazzjonijiet ta’ mħabba. Stejjer intriganti li jistgħu jkunu sinċiera, filwaqt li oħrajn joħolqu dubju ta’ kemm fil-verità huma ġenwini … bil-konsegwenzi kollha li jġibu magħhom.

Għalhekk, din it-tfajla tidħol b’ruħha u b’ġisimha biex tinvestiga dak li kienu għaddew minnu ommha u missierha fi tfulitha. Għaliex ma baqgħux jaqblu? Għaliex nibtu bosta diffikultajiet? Għaliex bejniethom kienet issaltan ċerta bruda? Għaliex kienet tismagħhom jitlewmu daqshekk spiss? U t-tabib, li kien ħabib mal-omm minn tfulithom, x’sehem kellu f’din ir-relazzjoni?

Tgħid dan kollu kien il-kaġun ta’ azzjonijiet intenzjonati minn ħaddieħor biex ifixkel lilhom u r-relazzjoni ta’ bejniethom? Kienu qegħdin ibatu l-konsegwenzi li għabbiethom bihom is-soċjetà? Jew kienu baqgħu jsofru l-ingann ta’ min, għall-iskopijiet tiegħu, ried jgħaddihom minn bosta diffikultajiet li fl-aħħar mill-aħħar, spiċċaw biex herrewhom?

Għax bħalma jaf kulħadd, fid-dinja ma jeżisti l-ebda limitu għall-għira, ir-rgħiba, l-egoiżmu, l-arroganza u l-korruzzjoni li kienu minn dejjem, u li f’qalb il-bniedem mhuma se jmutu qatt!

Madanakollu, wara ħafna intriċċi, diżappunti u anki sorpriżi, l-investigazzjonijiet iwasslu lil din it-tfajla biex fl-aħħar mill-aħħar, tiskopri min kien tassew il-ħtija tat-turbolenzi li dejjem inqalgħu fil-familja tagħha. Biss, meta tasal biex tagħmel ġustizzja ma’ dawn il-persuni, tinduna li d-destin ried mod ieħor.

Ta’ min jinnota li dan ir-rumanz kapaċi jwassal messaġġ importanti ħafna. L-azzjonijiet ħżiena li jġiegħlu persuna oħra ssofri ma jirriflettux biss fuq min iġarrabhom. Imma, jistgħu jħallu wkoll konsegwenzi koroh ferm fuq xi wħud mill-qraba ta’ min ikun għadda minnhom – u sorprendentament – fuq il-qraba ta’ min ikun wettaq l-azzjonijiet il-ħżiena stess. Qraba innoċenti li indirettament, u wisq iżjed intortament, huma wkoll jispiċċaw biex ibatu bosta konsegwenzi materjali, kif ukoll danni morali u psikoloġiċi.

Però, l-aktar ħaġa kurjuża li laqtitni f’dan ir-rumanz kienet il-mod ta’ kif din it-tfajla, minkejja li missierha kien ilu żmien twil mejjet, xorta waħda baqgħet toħlom bih u dejjem tħossu qrib tagħha. Saħansitra li xi drabi qiegħed ukoll hemmhekk, maġenbha. Tgħid ried jgħidilha xi ħaġa? Xtaq jgħaddilha xi messaġġ? Ried juriha kemm kien għadu jħobbha? Jew forsi biex iħeġġiġha tkompli tindaga ħalli tiskopri xi misteru ġdid ieħor dwar familtha …?

Huma interessanti wkoll il-kummenti u l-osservazzjonijiet li għamel il-Professur Charles Briffa dwar dan ir-rakkont, fejn analizza bosta aspetti u xtarr bir-reqqa l-karatteristiċi differenti li joħorġu mill-istorja intriganti ta’ dan ir-rumanz.

Wara r-rumanz FRASCATI, dan huwa t-tieni ktieb ta’ Therese Vella. Awtriċi li għandha pinna ħelwa, mexxejja, u li kapaċi toħloq rakkont li jżommok sal-aħħar paġna – kemm jekk inhu msejjes fuq ġrajja ta’ mħabba, u anki dwar il-valuri tal-ħajja. Rumanz b’tema interessanti, lingwaġġ mexxej u kapitli qosra. Għalhekk meta qrajt DAK LI TIŻRA’, TAĦSAD indunajt kemm il-versatilità tispikka sew fl-ideat kurjużi, attraenti, interessanti u fertili bil-bosta ta’ din l-awtriċi.

Dan ir-rumanz ġdid issibu tixtruh minn www.horizons.com.mt ,  horizons malta / outlook coop , minn Agenda Bookshops , u mill-ħwienet ewlenin tal-kotba.

Nawguralkom qari bil-Malti mill-isbaħ J

Michael Cini

/by

Bloodstained Sand, Unyielding Spirit: An Ode to Gaza

The Shadow: Poems for the Children of Gaza

By Ahmed Miqdad & John P. Portelli

Published by Horizons, 2024

It’s tempting to switch channel when confronted with streams of death and destruction, but at what point does avoidance turn into complicity? The Shadow: Poems for the Children of Gaza is an invitation to resist the urge to look away.

 

The friendship between Ahmed Miqdad, a displaced Palestinian poet in Gaza, and John P. Portelli, a Maltese-Canadian poet and professor emeritus at the University of Toronto, emerged on social media. An exchange of poems reflecting on the humanitarian catastrophe became the poets’ outlet for shared grief, anger and frustration. Despite the unrelenting bombardment of Gaza and Miqdad’s limited access to internet, their poetic dialogue has persisted throughout the past year and culminated in this transparent collection.

 

Scavenging street dogs, winds carrying a scent of decaying bodies and seagulls fleeing the sound of bombs: this is the unfiltered reality The Shadow immerses its readers in. With visceral imagery and emotional resonance, the read feels hauntingly confrontative. For a moment, we sit on the cold soil in the tent next to Miqdad and his family. We are entering the depths of a collective wound, felt through the parents who are unable to protect their toddlers. This is a running theme across many of the verses, here captured by Miqdad: “I keep your blanket ready in hopes that you’ll find your bed once more, even though I know, the dead will never come back”.

Children are at the heart of the dialogue, and Portelli urges us to see the world through their eyes: “I was the six-year-old girl from Rafah, exhausted from saluting the dead for the last time, shrouded in the bloodstained drapes of a life I always hoped would change one day, if only I were allowed to live”. All proceeds of the book are being donated to Gaza, where the child death toll has reached incomprehensible levels.

 

Through evocative portraits and unflinching honesty, readers are forced to reflect on the dangers of indifference. With each verse, remnants of detachment are crumbling away and replaced with an unyielding sense of shared responsibility. In the piercing lyrics of I am a Gazan Girl, Portelli touches upon a double-edged phenomenon: “You do not know me, but at times you send me some euros, a cathartic exercise to clear the conscience you inherited from the powerful, their sin of daily bombings”.

For a digital audience oversensitized with constant flows of imagery and clickbaits, this collection is a testament to the profound capacity of words to reignite our sense of empathy and engagement. “Get angry, when you see terrified, hopeless Palestinian parents, innocent children being shredded, with your tax money. Get angry, when you hear the voices of the voiceless burning, buried under the rubble. […] Get angry, if you are human”, Miqdad echoes.

 

It’s more than a selection of personal reflections – it’s an outcry for the experiences of Palestinians, a letter to humankind. As Gaza has become a landscape of ruins where Israeli warfare has led to unprecedented numbers of civilian casualties, readers are reminded that the “hopeless faces” aren’t one; they are millions.

Despite the book’s heavy tone, there’s a fierce spirit of resilience that surfaces as we journey through the pages. Drawing upon symbolism of kites rising above the smoke and a phoenix reborn from ashes, the poems also convey a message of liberation, renewal and hope. The publication is an embodiment of quiet defiance and a refusal of erasure. As Miqdad puts it: “We are not numbers, we are the difficult number no one can divide or subtract, we are Palestine”.

 

 

Sarah Warderberg

Sarah Warderberg is a lawyer based in Malta, Master of Laws (LL.M.), Örebro University and Master of Intellectual History (M.A.), University of Gothenburg.

 

/by

Reffiegħa tad-dellijiet Novelli ta’ Joe Camilleri

(pubblikazzjoni www.horizons.com.mt, paġni 308)

Apprezzament ta’ Tarċisju Zarb

 

Daħla
Il-kelma ‘dell’, għalkemm ma fihiex toqol fiżiku, fiha hemm toqol bla qiegħ f’dik li hija qagħda subkonxjuża, prikonxjuża, inkonxjuża u l-bqija. Għax hija turija ċara tas-‘swidija’, li hemm taħkem fina l-bnedmin, li xi darba jew oħra ltqajna ma’ xi skontru jew inkontru li fih tbenġilna, u waqtiet tbenġilna bl-ikrah. Tant hu hekk li nqattgħu ħajjitna għaddejjin nikkustinjaw bejnna u bejn ruħna, fid-diwi ta’ ġo fina ma’ dawn id-dellijiet. Ma’ dawn it-trawmi, li għandhom ħabta kif ifiġġu u jfeġġu minn żmien għal ieħor, biex jgħidulna: Hawn aħna nikkmandaw. Aħna l-istess liwjiet narrattivi tagħkom. U intom m’intomx ħlief ir-reffiegħa tagħna. U tgħidu, x’tgħidu u tagħmlu x’tagħmlu, aħna se nkomplu nidderieġu l-bastiment aħna.

U għaldaqstant dawn id-dellijiet isiru l-persekuturi, il-persekuzzjonijiet perenni ta’ ġo fina, jekk xejn, il-persekuzzjonijiet tal-karattri li nsibu fil-protagonisti ta’ dawn in-novelli, novelli, li ma joborxux biss il-wiċċ tan-narratoloġija, imma jidħol f’qiegħ il-qiegħ tas-sotterran tal-karattri ppersegwitati li jgħixu u jgħammru ġo fihom.

U huma sewwa dawn id-dellijiet, hekk imsejħa Jungjani, li jibqgħu jidderieġu u jmexxu d-destin ta’ dawn il-karattri, anke meta dawn l-istess dellijiet ikunu spiċċaw infgaw, jew intesew taħt braġ ta’ żmenijiet, u avventuri u miżavventuri oħra. Il-karattri ta’ dawn in-narrattivi huma karattri mgħaffġa. Iddeterminati minn dak li seħħ jew seta’ seħħ darba. U d-darba hija dabra u dabra ta’ veru. Hija dell. Mhux id-dell li jkennen, imma d-dell skabruż li jurik li hemm id-dlam. L-inkubu. Il-biża’, l-inkwetudni, id-diqa, id-dipressjonijiet immaġinarji li wieħed jista’ jsib ruħu kkakkmat fihom tul ħajtu.

U dan l-awtur, konxju bħal qisu minn dan it-tip ta’ dagħbien psikoloġiku jasal biex jagħrfu f’dil-miġemgħa ta’ personaġġi li jsibu ruħhom jabitaw dawn in-narrattivi tiegħu. Narrattivi ppersegwitati. Narrattivi, ta’ min darba waħda nqabad f’xi nasba, jew f’xi temp sab ruħu f’inkubu, jew f’xi waqt instaram f’xi saram, b’tali mod u manjiera, li issa, jitqabad kemm jitqabad m’hemmx ċans li jinfeda.

U l-karattri kollha ta’ dal-pajsaġġ narrattiv, hawnhekk, f’dil-ġabra narrattiva ta’ Joe Camilleri jsibu l-ospizju tagħhom, ospizju, madankollu li għalih m’hemmx xquq ta’ tama. Id-dell jibqa’ dell, jibqa’ dell, jibqa’ dell li jdellel il-personaġġi ta’ dawn in-naħiet ta’ din il-qagħda ta’ ruħ.U minkejja, li llum il-ġurnata, hawn, u hawn għadd ta’ metodi li permezz tagħhom wieħed jista’ jkollu terapija għal din il-qagħda tad-dell Jungjan, għal dawn il-personaġġi, din tinħass ’il bogħod, u ’l bogħod ħafna, tant li l-uniku fil li jgħaqqadhom hu t-tirfigħ ta’ din il-qagħda perenna għaddejja l-ħin kollu ssus fuqhom u ġo fihom, fil-labirinti intimi ta’ ġo fihom. Huma labirinti, li dwarhom ma jidhirx li hemm bibien jew twieqi ’l barra minnhom, għax kulma
qiegħed jiġri huwa ġewwa u ’l ġewwa, ’il ġewwa ġewwa fihom.

U b’dan il-mod, dawn in-narrattivi…din in-nixxiegħa ta’ konxjożità…tinħass għaddejja titberraħ quddiem għajnejna, hekk kif aħna nħitu istant ma’ istant ma’ istant li jkun wassal biex il-protagonista li dwaru jkun qiegħed jitkellem jispiċċa bħal r-reffiegħ ta’ min jinsab b’katavru fuq spalltu għaddej fit-travalji tal-ħajja. U biex nagħtu ħjiel ta’ x’inhuma dawn id-dellijiet u r-reffiegħa tagħhom, se nagħti xi ftit leħħiet dwar dawn in-narrattivi – narrattivi li jintrabtu ma’ xulxin b’saħħa ta’ awtur li jaf, jagħraf u jifhem mhux biss in-naħa ta’ fuq tal-istejjer tagħna l-bnedmin, imma wkoll, u aktar qiegħ nett dawn l-istess narrattivi.

Xi eżempji
U f’dan id-dawl għandna mnejn nifhmu xi wħud min-novelli li nsibu f’din il-ġabra ta’ novelli ta’ Joe Camilleri. Għaldaqstant, fin-novella “Mill-imgħoddi tirxoxta l-weġgħa” aħna niltaqgħu ma’ protagonista, li minkejja li għamel minn kollox biex jaħrab minn imgħoddi li fih kien żbalja u żbalja bl-ikrah fil-konfront ta’ ħuh, li kien spiċċa ferut bl-ikrah u li sofra bis-sħiħ, riżultat tad-daqqa ta’ sikkina li kien tah meta kien għadu tifel, xorta waħda jibqa’ ma jirnexxilux jikseb il-maħfra li huwa tant xtaq li jikseb. It-tbegħid fl-Awstralja, u f’aljenazzjonijiet oħra, xorta waħda ħallewh jidher bħala t-‘tirann’ f’għajnejn ħuh, li fih kien jara dak il-bniedem li ħassarlu ħajtu bl-ikrah. Dawn is-siltiet juru xi naħiet minn din l-esperjenzjalità: L-imgħoddi ġġedded… Il-ġlieda li qamet meta kont ħtaftlu l-ġugarell tal-landa li ddobba f’għeluq sninu. Jien ukoll deherli li kelli dritt għalih. (…) F’telfa ta’ rabja kont ħfint is-skkina ta’ fuq il-mejda. Għollejt driegħi. Fil-waqt kien baxxa rasu. Ma nafx kienqabel jew wara. (…) Imma lħaqt ħażżejtlu sing.

U min-naħa l-oħra “It-tieqa fil-għoli” hija, hija wkoll novella li titkellem dwar id-dell tal-imgħoddi, u kif kittieb immaġinattiv joħloq grupp li fih il-membri setgħu jesprimu dak kollu li kien qiegħed ikiddhom, biex b’dan il-mod ikunu jistgħu jsibu xi tip jew ieħor ta’ terapija, anke jekk jiġri li riżultat ta’ dan l-istess grupp, il-kittieb-studjuż jispiċċa biex waħda mill- parteċipanti tinfatwa ruħha fuqu, b’tali mod u manjiera li kien hemm iċ-ċans li din kienet għamlet suwiċidju, minħabba li hu ma riedx li jeċċedi l-ħbiberija li kienet nibtet bejniethom.

Hawnhekk id-dell ta’ dak li ġara, jibqa’ jsus warajh, għax anke hu kien reffiegħ ta’ dell. F’ “Dellijiet ta’ żewġ nisa” min-naħa l-oħra naraw kif il-ġibda tal-protagonista għall-ewwel mara tiegħu, li għandna nifhmu mietet qasir il-għomor, u t-tfajla li kienet lagħbitu u serqitu, imma li dan għamlitu għax binha kellu tumur, kienu żewġ dellijiet li ħakmuh u ħakmuh bl-ikrah. Il-protagonista hawnhekk jinħass li ntrebaħ minn ‘dell’ martu u l-ġenerożità endemika fih.

“Is-sewda tiegħu” min-naħa l-oħra ma kinetx ħaġa oħra ħlief il-karozza li kien jaħdem biha u kellha tispiċċa kif spiċċat, imma li hu kien rabat qalbu magħha bl-ikrah, tant li kienet saret tagħmel parti minnu kif jidher minn kif tagħlaq din l-istess novella: “Il-qafas sfigurat wassal l-għafja aħħarija tal-kundanna. Is-sewda tiegħu issa kienet bla ħajja. tistenna karru biex iġorrha lejn għalqa-qabar tar-rimi, tal-abbandun u tan-nisi. Id-dell vjola rieżaħ li mill-għoli tefgħet fuq il-qiegħa tal-art kien l-aħħar dehra kiesħa li ra tagħha. Kien jaf li dak id-dell kellu jergħu hu wkoll. Iġorru miegħu, l-aktar fil-ħolm tal-lejl.”

U “Ħolma ta’ unur” tkompli ddaħħalna f’din id-dinja fejn l-imgħoddi jibqa’ jeżerċita ruħu fil-preżent, u l-poeta li issa jinħass li kien qiegħed ibati mid-dimenzja, jinfixel u jinfixel bl- ikrah meta jibda jħallat l-immaġinazzjoni mar-realtà. U f’din in-novella, niltaqgħu sewwa sew ma’ din il-qagħda ta’ ruħ – qagħda ta’ min tilef il-kuntatt mar-realtà u sab ruħu jgħix f’realtà misħtajla, immaġinarja, surrealistika, imma li hu kien għamilha bħala r-realtà reali, imma minkejja l-falza stikka li ħa, u li mar għal dik li skont l-immaġinazzjoni tiegħu kellha tkun serata ta’ unur għalih, xorta waħda jagħlaq billi jgħid: “Forsi jien ninsab fid-dinja tiegħi,’ ħaseb. ‘Iva fid-dinja tal-ħolm hija d-dinja tiegħi.’ / “Jien poeta,” beda jgħajjat u jxejjer dirgħajh. / Kien hemm ħafna li daħku f’wiċċu. (p. 188)

U fi “Sfumaturi” niltaqgħu mal-protagonista li ġo fih kienet tinħass ix-xewqa li jelimina darba għal dejjem it-tifkira ta’ martu, għax bħal qisha kienet daħlet ossessjoni ġo fih, li hija kienet dik li ħaditlu kollox. U dan minħabba l-fatt li hija kienet daħlitlu fl-ispazju tiegħu tal-każin u l-politika, li għalih kienu jiġu l-ewwel u qabel kollox, u fil-proċess, anke sawret lill-istess uliedu fl-istess sura tagħha. Imma sadattant jinħass li l-protagonista: “M’għarafx li fil-kilba kbira biex ixejjen il-memorja ta’ dil-mara ma kien qiegħed jagħmel xejn għajr jipprova jeqred il-falliment tiegħu.” (p. 199)

Min-naħa l-oħra f’ “Laqgħa ta’ bla ħsieb”, niltaqgħu ma’ koppja miżżewġa li xellfu difirhom ma’ xulxin, minħabba l-fatt li hu kien indiehes daqsxejn, jekk xejn bi kliem ma’ mara li kienet ġara tagħhom, u li din id-dehisa xejn ma kienet għoġbot lil martu, tant li kellu jitlaq lil martu u jmur joqgħod m’ommu. Jiġri, madankollu li ommu timrad, u hawnhekk jerġa’ jiltaqa’ ma’ martu, li tibda tgħolli sas-seba’ sema lil ommu, biex b’hekk tkun tista’ tmaqdar lilu. U hu, min-naħa tiegħu, baqa’ sieket sieket, biex ma jgħidilhiex, kemm ommu kienet tgħidlu kontriha, u kemm ma kinetx ‘iġġerraħha’. Għax hu kien tal-fehma li: Ma kien sejjer jieħu xejn billi jċarrat l-istampa ideali li għal raġun jew oħra kien sawwar moħħha dwar ommu./ Mela ħalliha ħa tibqa’ tgħix il-fantasija. Minnha tibqa’ tgawdi ruħ ommi.’/Kien jaf li għalih, il-ħolma ta’ hena matrimonjali kienet spiċċat. Bil-vleġeġ ta’ akkużi li regħet qanqlet, dil-laqgħa ta’ bla ħsieb aktar issiġillat il-fehma tiegħu li jibqa’ jgħix għal rasu f’darommu. (p. 269)

L-istil
L-istil ta’ Joe Camilleri huwa dejjem mexxej, ‘spedit’ u naturali, anke meta huwa jikteb b’mod analitiku u riflessiv dwar il-qagħdiet ta’ ruħ tal-istess karattri tiegħu. L-esperjenzjalità tiegħu f’oqsma varji ta’ narrattiva, analiżi kritika, estetika u l-bqija, bil-fomm u bil-kitba, jgħinuh biex iwassal sewwa sew il-qagħda ta’ ruħ tal-protagonisti tiegħu. Għax Joe Camilleri, illum sar in-narrattura, li jagħraf jorbot l-aneddotalità, in-narrattiva, l-istorjetà ta’ karattri, ma’ temi / qagħdiet mentali li għandhom elmenti komuni ma’ xulxin. B’dan il-mod, il-karattri varji tiegħi, lil hinn mill-ambjentazzjoni li jsibu ruħhom fihom, huma karattri li f’qiegħ qiegħhom għandhom xi ħass/element/perċezzjoni subkonxjuża li qiegħda torbothom u trabbathom ma’ xulxin.

Hawnhekk huwa d-dell tal-imgħoddi bil-konotazzjonijiet kollha varji tiegħu, li jorbot u jsensel ma’ xulxin lil dawn il-karattri. Sadattant, madanakollu aħna nissieħbu ma’ dawn in-narrattivi intimi tagħna lkoll billi noborxu xi ftit minn dawk id-dgħjufijiet, trawmi, qagħdiet mentali u l-bqija, li xi darba jew oħra aħna nkunu ltqajna magħhom matul ħajjitna. Sadattant dawn in-novelli jinftiehmu u jistgħu jinqraw minn kulħadd, għaliex huma mexxejja f’dik li hija narrattiva, lingwa u fluss tas-sentenza – fluss ta’ sentenza li minnha nnifisha turina sens qawwi ta’ narratur li mhux kapaċi jagħraf, jifhem u jidħol fil-motivazzjonijiet tal-karattri, imma wkoll li jsib elementi u aspetti għaqqidija bejn dawn l-istess karattri. Joe Camilleri, kif sostnejt f’kitbiet oħra huwa awtur li mhux biss għandu jinqara minn kull tip ta’ qarrej, imma tajjeb ukoll li jkun hemm xi student/a, li jagħraf jidħol biex janalizza aktar fil-fond is-sehem tiegħu fil-qasam tal-kitba tan-novella bil-Malti. U dan, jekk xejn, minħabba li fil-kitba tiegħu hemm omoġeneità’ – hemm fasla ta’ narrattivi u qagħdiet soċjali, mentali u l-bqija li jintħietu ma’ xulxin b’sottosfond jekk xejn psikoloġiku komuni – sottosfond li jappartjeni mhux biss għall-karattri li niltaqgħu magħhom f’dawn in-narrattivi partikolari, iżda wkoll ta’ karattri oħra lil hinn minn dawn in-narrattivi – tagħna lkoll. Dan il-fil għaqqiedi u sostnut f’dawn il-kitbiet juri li Joe Camilleri bħala awtur ma jiqafx fis-sempliċi narrazzjoni tal-wiċċ, li tagħhom għandu ħakma b’saħħitha u unika, imma aktar minn hekk, huwa jifhem, jagħraf u jtenni jiskopri da il-pajsaġġ inerentment komuni bejn il-personaġġi tiegħu, u l-personaġġi l-oħra kollha lil hinn minn dawk li niltaqgħu magħhom f’dawn in-narrattivi. Fi kliem ieħor, il-personaġġ jien, int, hi, huma u aħna lkoll. Dan minnu nnifsu huwa xiehda ta’ min huwa midħla sewwa ta’ qiegħ l-ajsberg Frewdjana, li teħodna lil hinn minn dak li jidher, imma li f’qiegħ qiegħna hemm tributarjitajiet għaddejjin il-ħin. Huma dawk id-dellijiet Jungjani li jitolbuna biex aħna niskopruhom, naffaċċjawhom, ngħiduhom u niktbuhom, għaliex b’hekk aħna nkunu nistgħu nirbħuhom, anke jekk dan rarament jiġri/jissuċċiedi fin-narrattivi ta’ Camilleri. U dan, Joe Camilleri jagħmlu bi skop, għax huwa mhuwiex it-terapista Jungjan li qiegħed hemm biex jgħidilna biex niktbu l-journals tagħna, naffaċċjaw l-inkubi tagħna, nitkellmu dwarhom u l-bqija, imma huwa n-narratur li jżomm id-distanza estetika bejnu u bejn dawn l-‘erwieħ’ ifflaġellati u mgħobbija b’dellijiet li huma tqal daqs l-istess ħajja tagħhom.

Fost xogħlijiet oħra Joe Camilleri tana Solitudni fil-Folla; Fir-rokna tas-silenzju; Żwiemel tar-riħ; Mużajċi tat-Tafal; Ir-Raġel tas-skiet; Dwal mill-Kantini; L-eku tal-Ħabbata, u Faċċati.

/by

Delving into the world of young Maltese writers

Exploring their fears, ambitions and jealousies

 

John P. Portelli interviews the author, DAVID SAMUEL HUDSON to delve into his debut novel, ‘M’

 

David Samuel Hudson’s debut novel M (Malta: Horizons, 2024) offers a pleasant and swift read. Written in excellent and flowing English, each chapter ends with an event or commentary that makes the reader move on to the next chapter with interest and engagement. Narrated in the first person of Damian Theuma, the main character, the novel presents us with the intrigues of a writing group originally formed to support each other by providing commentaries on each other’s writing drafts. The meetings lead to a series of mischievous or vicious moves by two of the young ambitious writers, a love affair between two of the members of the group, a betrayal, and a case of plagiarism attributed to the wrong person. M also provides a refined kind of criticism (spiced up occasionally with satire) particularly about the present way of life in Malta. The letter “M” could reasonably stand for Malta, malicious, meetings, morbid or marelli. But the most suited word is mediocrity, which emerges as the major theme of the book, and in my view, rightfully so. Hudson’s style gave me a sense of calmness that positively sucked me in and made me want to know more and more.

 

I extend my congratulations on your debut novel, which I would describe as a minimalist narrative with critical-realist elements. Would you agree with this characterisation?

I set out to write a spare novel about young artists in Malta. Given that the story is told from the perspective of an aspiring writer who has a high opinion of himself, I could have opted for a florid style that belongs to an inexperienced writer. In other words, I could have opted for a more metafictional approach. But by the end, Damian learns his lesson – he cannot pen the best novel ever written about Malta; he comes to this freeing conclusion – so M is not his attempt at writing this imagined masterpiece. It therefore reads like a very plain documentation of an episode in his young life in which he falls in love, learns to hate his country, learns to love it again, mends a fraught relationship with his father, and so on. The novel is about these things rather than novel-writing; although that’s the conceit or leitmotif that keeps cropping up throughout. I would agree that it’s a minimalist novel and one that tries to be as real and as raw as possible. It’s this rawness that makes Damian a redeemable character, I think.

 

Another significant aspect of your novel involves critiques, including elements of satire, regarding the current lifestyle in Malta. What prompted this?

I think that in Damian’s mind, it’s not satire at all. He can be dramatic, sure, but in his young mind, Malta is as bad as he makes it sound. This keeps changing throughout the novel and I hope that it doesn’t come off as monophonic. At one point, Damian meets a celebrity author and this is perhaps the most satirical or caricaturised aspect of the novel. This celebrity author is a type: a dilettante, in love with himself, ultimately mediocre. Damian depicts him according to his own perception. If it comes across as satirical and exaggerated, it’s because it is; the celebrity author is satirising himself. I myself have encountered bewildering behaviour from the artistic circles in Malta and I would have missed a massive opportunity had I not touched upon this in a novel about Maltese writers.

 

Speaking of Maltese writers, since my youth I have always been amazed with writers’ cliques in Malta, and how exclusive they can be. Moreover, many are also unable to accept any form of criticism at all. Regarding criticism, some might critique your novel for its focus solely on a specific segment of Maltese society, potentially giving the impression that it represents the entire populace. What are your thoughts on this?

In general, I’d rather be criticised for what I got wrong in what I wrote rather than the aspects I didn’t explore. M is written from the perspective of a young and inexperienced student. He thinks he’s better than everyone but, like most people, he’s wearing blinders. He has a very narrow view of the world and, to top it all off, he’s self-centred. In his defence, he has no obligation to write a panoramic novel about Malta though perhaps that’s the initial intention. The fact that M does not turn out to be the masterpiece he thought he was capable of writing or the novel that best represents Maltese life, his admitted failure, shows that he himself is condemning his initial arrogance. Perhaps that’s why the novel is called M and not Malta: he has only managed to capture one aspect of Maltese life. That being said, if any local writers are ruffled or inflamed over criticism, then they are in the wrong business. Writers should live and breathe feedback; their job is to best express the obvious and the not-so-obvious, the seediness and the realities of life. All writing should hope to engender some form of debate or reaction.

 

I appreciate your frankness. Did you have a specific goal in mind when you wrote the novel? If so, could you elaborate?

I set out to write a novel about young Maltese writers and their fears, ambitions and jealousies. I knew from the get-go that, like Damian, I wasn’t capable of writing the best novel ever written about Malta because I, too, am inexperienced, I too have so much as yet to explore, and I’d like to think I’m more humble than my character. So what I wanted to depict was a young writer coming of age by realising he doesn’t yet have what it takes to write his country adequately.

 

And I think you indeed have very realistically characterised the psychological state of Damian. An aim and a moral are not necessarily identical. While you may disagree, I hold the belief that literature shouldn’t necessarily be crafted with a moral in mind, as its primary purpose shouldn’t be didactic. What is your view?

People, for better or for worse, are moral creatures and while they may not explicitly aspire to write a didactic novel, their moral compass or fibre comes through in the writing. Even Lewis Carroll’s Alice in Wonderland, which is perhaps a famous example of a genre of writing straying from the didactic tradition, inspired a generation of children to “be themselves”. Whether a novel intends to have a moral lesson or not, a reader will inevitably want to find one. I agree though – literature should not set out to be didactic. I don’t think I had some kind of moral quandary I wanted to answer with M.

 

The novel deals also with the issue of whether or not budding authors ought to write in Maltese or English. For me, this is not an issue as long as they feel comfortable writing in the language of their choice. For political reasons, I have opted to write literary works in Maltese and academic work in English. I know that your mastery of Maltese is excellent. So, why do you prefer to write in English? Do you think that writing in English reproduces the many colonial elements in Maltese society?

The answer to that question is quite simple: I feel more comfortable writing in English. When I was young, I read both Maltese and English literature and I found that I could run out of Maltese stories fairly quickly but the number of English books felt infinite. I turned to English stories and read voraciously. What inspires me the most is English writing so it makes sense to me that I write in that language. I don’t feel that I am betraying my home country if I write in English though the question of language choice comes with a lot of political baggage and references to our colonial history. I think there is enough historical distance now to feel that my choice has no political point to make. It’s simply a personal decision.

 

Your novel is written in impeccable English, and I truly congratulate you on this. However, in the dialogue you include phrases or terms in Maltese which again, a certain middle-class group of Maltese (traditionally characterised as tal-pepe) use. Do you do this to satirise this group? Or is it an attempt to be realistic? I personally found this style overused, although I can see an argument for its use

I agree that the style is overused. Perhaps the right word here is exasperating. And unnecessary maybe? However, I don’t think a local work of fiction, in either language, has ever answered this question: does it make sense for a Maltese writer to write a novel in English while avoiding very Maltese phrases, especially in the dialogue? In my mind, it had to be addressed. Maltese people today, more often than not, speak a mixture of Maltese and English and this is a real aspect of Maltese society that I wanted to capture in M.

 

And I believe you have captured it well. One of the qualities that I truly appreciated in your writing is that with succinctness you managed to create unique and very well-developed characters. May you comment on the process of character development?

I love listening to people. Everyone comes with a personal history. Each person has his or her own affectations, cadences of speech, mannerisms, styles. I observe these minutiae and idiosyncrasies in earnestness. I devour details and fall in love with people’s quirks and peculiarities in a very unguarded way. What happens is that, almost without fail, I empathise to a degree where I start mirroring these people. To accommodate them perhaps? Looking at and listening to people and attempting to understand their story is how I stumble upon characters. I’m not saying that my characters are real people but their idiosyncrasies are what I’ve observed in others. Rupert is the more real of my characters and it’s no surprise that readers have responded so well to him.

 

Another laudable characteristic of your work is that each chapter ended in a way that kept me engaged and wanting to know more and more. Although I consider myself to be a slow reader, I managed to read your novel in a very short time. Yet, I expected the conclusion to be more dramatic or more extraordinary. This is a matter of subjective preference. Any insights on these aspects?

I feel that a novel that ends with a question cannot end with a bang. Damian looks out to the sea and finds that there are more possibilities available to him than he previously thought. The ending of M is not a conclusion but a beginning for him. Coming-of-age tales rarely end explosively or even decisively. The character is on the cusp of learning about learning, that he has far to go. A character only learns the method of experiencing the world and not the world itself. Hopefully, it’s communicated that Damian has learned to slip out of the arrogance that he previously shielded himself with and that he’s no better than most young artists his age. This is all he learns and it doesn’t take much for him to come to this conclusion because he’s young – every experience to him is absorbable and life-changing. Again, the title perhaps is a reflection of this conclusion. M is not a conclusive or incontrovertible novel.

 

I appreciate your clarification. Before we bring this conversation to some conclusion, I have to note that I truly appreciated your characterisation of the culture of mediocrity which has plagued our country since I can recall. And you manage to depict it in a variety of contexts including the university. In this regard, I find your novel to be very current and deserves to be read and further analysed

Thank you. The celebration of mediocrity is ultimately a product of a political and societal crisis. We often think that the reasons for mediocrity are because of our size and because we can’t do better. I think this couldn’t be further from the truth and not just because there are multiple case studies of nations similar to our own who have transcended this but also because Malta has had its fair share of excellence peeking out of the wings from time to time. To have a select few writers controlling the Maltese literary canon simply because of nepotism, connections, friendships and so on is a crime and a massive disservice to the readers who clamour for a brand new and top-quality narrative. These select few writers even have the gall to blame potential readers for not reading. I often contend that the best Maltese writings are in bedrooms (as yet unpublished) and not on bookshelves. The literary industry will never get the funds it requires if its representatives are simply not good enough. So what we need is more: more opportunities for marginalised voices, more publications that champion quality, bold projects that encourage diversity. Courage is often hard to come across. I am proud of embarking on some exciting new projects to create more opportunities for lesser known writers. Some other publications are doing the same. Hopefully, things are changing.

/by