Thawrat Hawamida

It is proposed that this article be deleted, because of the following concern:

Not notable enough

If you can address this concern by improving, copyediting, sourcing, renaming or merging the page, please edit this page and do so. You may remove this message if you improve the article, or if you otherwise object to deletion of the article for any reason. To avoid confusion, it helps to explain why you object to the deletion, either in the edit summary or on the talk page. If this template is removed, it should not be replaced. The article may be deleted if this message remains in place for seven days. This template was added 2024-09-30 14:35; seven days from then is 2024-10-07 14:35. The article may be deleted if this message remains in place for seven days. Please check the history to see when this template was added.

If you created the article, please don't take offense. Instead, consider improving the article so that it is acceptable according to the deletion policy.

Author(s) notification template: {{subst:prodwarning|Thawrat Hawamida}} ~~~~

Thawrat Hawamida (1990) Palestinian novelist and poet.

Quotes

	Poetry was my first world, but I found the novel to be like a sea. You can swim in any direction you want without poetic or metrical controls.
	الشعر كان عالمي الأول لكنني وجدت الرواية مثل بحر، تستطيع أن تسبح في أيّ اتّجاه تريده دون ضوابط شعرية أو عروضية.
	— [https://rommanmag.com/view/posts/postDetails?id=5142 [https://rommanmag.com/view/posts/postDetails?id=5142 [https://rommanmag.com/view/posts/postDetails?id=5142 December 15, 2018; Interview with “Rumman Cultural Magazine”]]]

	• [Creative works have their own logic. Why did you choose “Paradise... Its Apple Did Not Fall” as the title of your second novel, and what are its implications?] The title “Paradise... Its Apple Did Not Fall” is open to interpretation for the reader, and has many implications. For me, I found that each character in the novel has their own paradise in which they live and aspire to immortality, and this paradise is Palestine. As for the symbolism of the “apple” here, it goes back to the fall of “Newton’s apple,” the first fall that moved our minds toward gravity. If we compare everything I said, the picture becomes clear that Palestine is paradise, and its apple has not fallen yet. That fall is the real punishment for the occupier, who will leave it and suffer the woes of our diaspora throughout the ages.
	[لعناوين الأعمال الإبداعية، منطق خاص. لماذا اخترت «جنّة.. لم تسقط تفاحتها» اسماً لروايتك الثانية، وماهي دلالاته؟] العنوان «جنّة.. لم تسقط تفاحتها» مفتوح على التأويل بالنسبة للقارئ، وله دلالات عديدة. بالنسبة لي وجدت أنّ كلّ شخصية من شخصيات الرواية لها جنتها التي تعيش فيها وتطمح للخلود فيها، وهذه الجنة هي فلسطين. بالنسبة لرمزية "التفاحة" هنا، مرده إلى سقوط "تفاحة نيوتن"، أول سقوط حرك أذهاننا نحو الجاذبية. لو قاربنا بين كلّ ما قلته لاتضحت الصورة بأنّ فلسطين هي الجنة، ولم تسقط تفاحتها بعد، ذلك السقوط هو العقاب الحقيقي للمحتل، الذي سيخرج منها ويعاني ويلات شتاتنا على مر العصور.
	— December 15, 2018; Interview with “Rumman Cultural Magazine”

	• Experimentation in creative writing, from my personal perspective, has its need and importance in the contemporary Arab novel. It is an important trend, as it opens the horizon for the novelist and gives him free rein to shape the present with realism and freedom, drops the drawn boundaries, and inspires astonishment. At the present time, each one of us lives his own life, which in reality has intersections with other lives, but each life has its own impact, reality, and rhythm, and experimentation exists to find the connection between them without violating the rules of narration or storytelling.
	التجريب في الكتابة الإبداعية من منظوري الشخصي، له احتياجه وأهميته في الرواية العربية المعاصرة، وهو تيار مهم باعتباره يفتح الأفق للروائي ويطلق له العنان في تشكيل الحاضر بواقعية وحرية، ويسقط الحدود المرسومة، ويلهم في الدهشة. في الوقت الحالي يعيش كلّ فرد منّا حياته التي لها في الحقيقة تقاطعات مع حيوات أخرى، لكن لكلّ حياة وقعها وواقعها وإيقاعها، والتجريب وجد لنجد الربط بينها دون الإخلال بقواعد السرد أو الحكي.
	— December 15, 2018; Interview with “Rumman Cultural Magazine”

	• Writing in its early stages, that is, when the writer discovers that he has a bleeding disease on paper, he may write from his subconscious, write what he has not lived, write the self and the other in it, and dialogue with songs and write about birds whose voices have faded. What is meant is that writing in the first experience, I bet that it will not be intended exactly as it is, it can be considered the self’s revelation of selves and dwelling in the text with another body.
	الكتابة في مراحلها الأولى، أي حين يكتشف الكاتب أنه مصاب بمرض النزف على الورق، قد يكتب من لاوعيه، يكتب ما لم يعشه، يكتب الأنا والآخر فيه، ويحاور الأغاني ويكتب عن العصافير التي ذبل صوتها. المقصود أنّ الكتابة في أول تجربة أراهن على أنها لن تكون مقصودة بما هي عليه تماماً، يمكن اعتبارها بوح الذات عن الذوات والسكن في النصّ بجسد آخر.
	— December 15, 2018; Interview with “Rumman Cultural Magazine”

	• We need our love to be true for where we came from, for the path we walk every day as we are busy with tomorrow, and also for those around us. Love must be like olives, perennial and green.
	نحن بحاجة إلى أن يكون حبنا حقيقياً للمكان الذي جئنا منه، والطريق الذي نسير فيه كلّ يوم ونحن مشغولون بالغد، وكذلك للمحيطين بنا وجب أن يكون الحب كما الزيتون معمراً وأخضر.
	— December 15, 2018; Interview with “Rumman Cultural Magazine”