University of Basrah

College of Arts
Department of Translation

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Literary Translation
(Ankmedo: Applied Translation of Selected pages)

2025 - 2024
Prepared by the Student:

Hussein Abdulateef Zeri

Supervised by:

PHD. Mohammed Al-Husain

PHD. Rafid Abdul Hussein

2025 CE 1446 AH
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 Introduction
Literary translation is one of the most complex and creative
branches of translation. It goes beyond merely converting
words from one language to another; it involves the
reproduction of a literary text in a way that preserves its
essence and artistic beauty. Literary translation is not just
about conveying meaning—it requires deep linguistic and
cultural proficiency to accurately interpret the original context
and transfer it into the target language while maintaining the
writer’s style and the emotional impact of the text.
This research aims to explore literary translation through an
applied study on selected pages from the novel “Ankmedo”,
analyzing the process of translation from Arabic to English. It
highlights the main challenges faced by the translator, such as
dealing with figurative language, idiomatic expressions, and
cultural differences between the two languages. Additionally,
the research discusses different theories in literary translation
and the importance of balancing fidelity to the original text
with natural readability in the target language.
The study covers several key areas, including:
-​ The Concept and Importance of Literary Translation:
Examining the role of literary translation in fostering
cultural exchange and enabling the transmission of ideas
across different societies.

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 -​ Challenges in Literary Translation: Addressing
difficulties such as structural differences between
languages, translating metaphors and idiomatic
expressions, and preserving the aesthetic elements of the
original text.
-​ Strategies in Literary Translation: Analyzing various
translation approaches, such as literal versus free
translation, and the role of creativity in adapting literary
texts.
-​ Analysis of the Selected Pages from the Novel: A
practical study comparing the original text with its
translation, highlighting the decisions made to maintain
tone, style, and meaning.
Through this research, we aim to provide a deeper
understanding of the nature of literary translation and its role
in transferring literary works across languages without losing
their artistic and cultural essence. The study also seeks to
emphasize the importance of literary translators as cultural
mediators who contribute to enriching global literature and
making it accessible to a wider audience.

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Literary Translation: A Detailed Overview
Translation is a specialized form of communication that
bridges the gap between different systems of language,
thought, and culture. It allows the sharing of texts across
languages, involving an intricate process of understanding and
transferring meaning. Literary translation, in particular, is one
of the most challenging forms of translation, requiring not
only linguistic skills but also a deep understanding of the
cultural and artistic nuances embedded in literary works.
Literature is categorized into several genres: poetry, fiction,
and drama. Each of these genres has unique characteristics
that pose distinct challenges for translators. Poetry, for
example, often involves rhyme, meter, and emotional
resonance, all of which must be conveyed in the translation.
Fiction and drama, on the other hand, include complex
characters, plot structures, and dialogues, all of which require
careful handling to preserve the original meaning and
emotional impact (Wechsler, 1998, p. 8).
One of the key aspects of literary translation is that it is not
just about converting words from one language to another.
The translator must also preserve the literary artistry,
rhetorical flourishes, and stylistic elements of the source
language (SL). According to Guralnik (1988), literary works
are those considered to have permanent value due to their
beauty and emotional impact. The translator’s task is to
capture this essence while remaining faithful to the original
(Guralnik, 1988, p. 689).

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Moreover, literary translation is seen as a form of criticism
and interpretation. It allows readers to gain access to literature
from different cultures and periods, offering a deeper
understanding of humanity’s diverse experiences. As
Wechsler (1998) asserts, literary translation enriches our
knowledge and cultural understanding, offering a window into
the minds of people from other times and places.
The main difficulty in literary translation arises from the need
to preserve the emotional and artistic impact of the original
text while ensuring that the translation is comprehensible and
relevant to the target audience. As noted by Nida (1991), a
translation must adhere to two main principles: formal
equivalence, which focuses on the accuracy of the message in
both form and content, and dynamic equivalence, which
emphasizes the effect that the message has on the target
audience, aiming to replicate the response of the original
readers (Nida, 1991, p. 26).
However, achieving a faithful translation is not always
straightforward, particularly when cultural differences
between the source and target languages come into play.
Translators often encounter challenges when the target
language lacks the specific words or concepts found in the
source language, or when the cultural context differs
significantly. In such cases, the translator may need to adjust
the text to make it resonate with the target audience while
remaining true to the original meaning (Gentzler, 2000, p.
941).

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Poetry presents an additional layer of difficulty due to its
reliance on sound, rhythm, and metaphor. Renowned poets
and thinkers, including Robert Frost, have pointed out that
translating poetry often results in the loss of its essence. Frost
argued that "poetry is what gets lost in translation," as the
nuances of sound and rhythm are often untranslatable
(Wechsler, 1998, p. 45). Translators must navigate these
complexities to preserve the poem’s structure, tone, and
emotional resonance.
Metaphor, an essential component of poetry, is also
particularly challenging to translate. As Gentzler (2000) notes,
metaphors are often reduced to simpler forms or omitted
altogether in translation, diminishing their richness and
layered meanings. This highlights the translator’s delicate task
of balancing faithfulness to the original and ensuring that the
translation maintains its literary and emotional impact.
The literary translator’s role can be likened to that of an artist.
Robert Wechsler (1998) compares literary translators to
musicians, as they both perform compositions created by
someone else. Just as musicians embody a piece of music in
their own style, translators must bring the thoughts and
images of the original author to life in a new language
(Wechsler, 1998, p. 4). This process requires not only
linguistic skill but also an artistic sensibility that allows the
translator to convey the full depth and nuance of the original
text.

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In essence, literary translation is both a technical and artistic
endeavor. The translator must balance the need for linguistic
accuracy with the responsibility of preserving the aesthetic
and emotional qualities of the original work. As noted by
Nida (1991), a good translation allows the target audience to
respond to the text in a manner similar to how the original
audience would have reacted, both emotionally and
intellectually (Nida, 1991, p. 26).
Conclusion
In conclusion, literary translation is a vital component of
global literature, allowing diverse cultural expressions to be
shared across languages. It involves complex challenges,
particularly in maintaining fidelity to the source text while
considering the cultural and emotional resonance of the
translated work. Literary translators play an indispensable role
in this process, serving as cultural and artistic mediators who
ensure that the beauty, style, and meaning of literary works
are preserved for future generations.

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Challenges of Literary Translation
Literary translation presents numerous challenges that require
a deep understanding of both linguistic and cultural aspects.
These challenges include:
1. The Translator’s Visibility – Translators often remain
invisible and underappreciated, with their contributions to
literature going unrecognized (Kaindl, Kolb, & Schlager,
2021, p. 3).
2. Cultural Adaptation – Literary translators must decide
whether to domesticate a text to make it more accessible to
the target audience or foreignize it to retain the essence of the
source culture (Kaindl, Kolb, & Schlager, 2021, p. 3).
3. Authorial Intent vs. Translator’s Interpretation – A
translator has to balance staying faithful to the author's intent
while making the text coherent and engaging in the target
language (Kaindl, Kolb, & Schlager, 2021, p. 3).
4. Linguistic and Stylistic Constraints – Some languages
have structures, idioms, or expressions that do not translate
easily, requiring the translator to make creative choices
(Kaindl, Kolb, & Schlager, 2021, p. 3).
5. Ethical and Political Concerns – Translators may face
ethical dilemmas when dealing with politically sensitive
material, leading to censorship or forced modifications
(Kaindl, Kolb, & Schlager, 2021, p. 3).

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6. Challenges of Poetry and Literary Devices – Poetry
presents unique challenges due to the need to preserve
rhythm, rhyme, and metaphor while ensuring the meaning
remains intact (Kaindl, Kolb, & Schlager, 2021, p. 3).
7. Impact of Machine Translation – While technology is
advancing, machine translation cannot fully capture the
literary and cultural nuances of a text, making human
translators indispensable (Kaindl, Kolb, & Schlager, 2021, p.
3).
8. The Psychological Burden on Translators – Translators
often experience self-doubt and stress due to the complexities
of their work, feeling the pressure to balance accuracy with
creativity (Kaindl, Kolb, & Schlager, 2021, p. 3).
9. Interference Between Writing and Translating – Some
literary translators are also writers, and their own writing
styles may unintentionally influence their translations (Kaindl,
Kolb, & Schlager, 2021, p. 18).
10. Untranslatability and Betrayal – Every translation
involves some level of loss, as certain meanings, cultural
references, and linguistic nuances may not have exact
equivalents in the target language (Kaindl, Kolb, & Schlager,
2021, p. 17).
11. Censorship and Editorial Modifications – Handling
texts containing sensitive topics like sexuality, violence, and
religion, particularly in children's and young adult literature
(Wright, 2016, p. 6).

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12. Publisher and Audience Pressures – Publishers may
prefer modifying literary texts to fit the target market, which
can lead to distortions of the original meaning (Wright, 2016,
p. 6).
13. Terminological and Structural Challenges – Some
linguistic concepts or structures may not have direct
equivalents in the target language, requiring creative solutions
(Wright, 2016, p. 7).
14. Authorship Duality and the Balance Between Fidelity
and Creativity – Literary translation is the product of both
the original author and the translator, which can create tension
between maintaining the source text’s integrity and allowing
creative expression in the target language (Wright, 2016, p. 7).
15. Phonetic and Stylistic Play – The translator must
preserve rhythm, alliteration, repetition, and wordplay,
particularly in poetry and children's literature (Wright, 2016,
p. 20).
16. Academic Responsibility in Literary Translation –
When translations are used in academic studies, it is crucial to
recognize differences between various translations, as they
can alter the meaning (Wright, 2016, p. 20).
17. Visual Constraints in Children’s Books – The
translation must align with the space available on the page and
maintain consistency with illustrations (Wright, 2016, p. 21).
18. Challenges of Literary Classification – Translated
literature may face difficulties in classification since literary

10
standards differ across cultures, affecting how the text is
received in the target language (Wright, 2016, p. 21).
19. Cultural Adaptation – The difficulty of conveying
cultural references without losing meaning or causing
misunderstandings for the target audience, such as translating
holidays or social and religious concepts (Wright, 2016, p.
24).
20. Translation and Interpretation Issues – The translator
must determine the core meaning of the original text before
translating, which can be challenging for ambiguous or
open-ended texts (Wright, 2016, p. 24).
Conclusion
Literary translation is a complex and multifaceted process that
extends beyond linguistic accuracy to encompass cultural,
ethical, and creative challenges. Translators must navigate
issues of visibility, cultural adaptation, and fidelity to the
original text while balancing the expectations of publishers
and audiences. The interplay between creativity and accuracy,
the pressures of censorship, and the limitations of
untranslatability all highlight the demanding nature of this
field. Despite advancements in machine translation, human
translators remain indispensable in preserving the artistic and
cultural essence of literary works. Ultimately, literary
translation is not merely a transfer of words but a delicate act
of interpretation that shapes how literature is experienced
across languages and cultures.

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References
-​ Bassnett, Susan. Translation Studies. London: Routledge,
2002.
-​ Dokoupil, Tony. "Translation: Pardon My French: You
Suck at This." Newsweek, May 18, 2009.
-​ Gentzler, Edwin. "Metaphor and Translation." In
Encyclopedia of Literary Translation into English, edited
by Oliver Classe. Vol. 2. London: Fitzroy Dearborn,
2000.
-​ Guralnik, D. B., ed. Webster’s New World Dictionary.
3rd ed. New York: Webster’s New World, 1988.
-​ Nida, Eugene A. "Theories of Translation." Traduction,
Terminologie, Rédaction 4, no. 1 (1991): 19-32.
-​ Wechsler, Robert. Performing Without a Stage: The Art
of Literary Translation. New York: Catbird Press, 1998.
-​ Kaindl, K., Kolb, W., & Schlager, D. (2021). Literary
Translator Studies. John Benjamins Publishing Company.
ISBN: 978-90-272-0816-3.
-​ Wright, C. (2016). Literary Translation. Routledge.
ISBN: 978-0-415-74531-4.

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 Ammar Nazar Al-Saad: A Literary Biography

Birth and Early Life

On December 12, 1988, writer and novelist Ammar Nazar
Al-Saad was born, embarking on a literary journey fueled by
passion and shaped by childhood experiences that planted the
seeds of his first stories. He grew up in Iraq, a country
ravaged by wars and sanctions, yet books became his window
to another world—one that was broader, more beautiful, and
more enticing to the imagination.
The Beginning: A Cup of Sugar and a Library Door
It all began with a cup of sugar. One harsh morning in the
1990s, when Iraq was struggling under the weight of
sanctions, an unexpected knock came at the door. It was a
woman who introduced herself as the librarian of the public
library. She had come asking for something simple yet rare in
those days: a cup of sugar.
For the young boy, it seemed like nothing more than a fleeting
moment—until his mother, after giving the woman what she
needed, asked her to take her son to the library. There, among
the shelves, he found his first treasure. From that day on,
literature became his refuge, and books became his compass
toward the future.

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From Engineering to Literature: Two Paths Converge
Despite his early love for books, literature was not his initial
academic pursuit. He studied Petroleum and Gas Engineering
at Kharkiv University in Ukraine, blending scientific logic
with literary imagination. Yet, even in the cold lecture halls of
Kharkiv, writing remained his sanctuary.
During his university years, he wrote under a pseudonym for
the university magazine, secretly submitting his stories and
articles. However, the turning point came in 2012 when
students were assigned to write about an influential historical
figure. He chose to write about Imam Ja'far Al-Sadiq (peace
be upon him)—and for the first time, he signed his real name
on the cover of his research paper.
Writing for Knowledge, Not Money
When his research paper landed in the hands of the editors of
Saint Petersburg Magazine, he did not receive the offer he
expected. Instead, they proposed to buy and publish it.
However, he declined financial compensation, requesting
something far more valuable: an opportunity to write for the
newspaper.
Thus, in 2013, he began his journey as an emerging writer,
filling the newspaper’s pages for two years before publishing
his first literary work: the short story collection
Matryoshka—a milestone that would later shape his career.

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Awards and Literary Achievements
Matryoshka was not just a collection of short stories; it was a
gateway to a lifelong commitment to writing. It won the Saint
Petersburg Russian Short Story Award in 2016, proving—as a
professor of philosophy at the Faculty of Arts, Kharkiv
University, noted—that he was “a writer capable of delving
into the depths of the human soul and transforming reality into
literature that pulses with life.”
However, the novel that truly cemented his name in the Arab
literary scene was "The Grave 306", which won the First
Edition of the Arab Novel Prize in 2024. This work
established him among novelists who do not merely tell
stories but explore the depths of memory and the human
condition.
In addition, he has authored several other novels, each bearing
his unique literary signature, including:
-​ Ankimido (2022)
-​ A Dance Beneath a Butterfly’s Shadow (2023), which
sold out its first edition in less than a year.
A Writer’s Vision: Between Oil and Ink
Ammar Nazar Al-Saad has balanced two worlds: the world of
petroleum and gas, which he studied academically, and the
world of literature, which he passionately embraced. In one,
energy flows from the depths of the earth; in the other, stories
flow from the depths of the soul.

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Translation of Selected Pages from “Ankmedo” ( Pages 13-20)

The soft melody of the music playing from the car radio,
along with the lush green fields, stirred strong emotions in
Abideen, who was sitting in the back,Immersed in
contemplating the view. For the first time, he felt a deep sense
of distance from Sandra, who had left with her family three
days ago. His father, Mr. Ismail, would occasionally glance at
him through the rearview mirror as he drove, as if inspecting
something. He knew that his son was mad in love with that
girl. He felt the need to break the silence and disrupt his son’s
thoughts, for he knew all too well what it felt like for life to
take away something you loved, against your will.
Alright, my son. After giving it some thought, I’ve concluded
that your decision was indeed correct. You should continue
your university education in the city, just as you said . I also
have no idea why I had objected to this in the first place.
Mr. Ismail finished his sentence, lit a cigarette, and exhaled
the smoke as he drove, saying, 'Not only that, but I’ve decided
to buy you a car. Perhaps you can’t stay in the city, don’t you?
The road to the city is long when you walk it.

16
Abdeen was absent minded, without speaking or responding,
simply nodding and pursing his lips in silent agreement. He
knew his desire had faded, no longer as strong as it before
when he had asked his father to continue his education with
Sandra. Once desire fades, its pursuit loses all meaning. The
music on the car radio changed to a brief pre-news jingle. Mr.
Ismail turned up the volume as the announcer started talking
about terrorist groups, describing them as some of the most
dangerous gangs to have ever existed on this planet. They had
taken control of a nearby town, showing no mercy,
slaughtering its men, seizing its women, and they seized the
children, stuffing them into large trucks before taking them to
their private training camps. The announcer concluded his
speech: “they will be defeated, and they won’t last long.”
Mr. Ismail switched off the car radio nervously with a flick of
his hand. Though he tried to conceal his discomfort, Abdeen,
always alert, noticed it and remained silent until they reached
the outskirts of the city, as was their daily routine. Each day,
they followed this route to sell the produce from their cattle
and to buy pesticides for their fields. Recently, they had
started selling more of their goods to the merchants, and these
sales were now yielding generous profits—however such
rumors of war had driven the townspeople to buy anything

17
they could for stockpiling. When people hear of war, they
prioritize securing food before ensuring their own safety.
The people gathered for shopping talked about the rough night
they had endured and the numerous shells that had rained
down on their city, bombarded by terrorist groups. Abdeen
leaned against their vehicle after unloading the cargo and
loading it with the necessary pesticides, waiting for his father,
who had gone to collect the payment. He was standing with
his arms crossed over his chest when two men began
conversing. All he heard was talk of gangs, street fighting,
and corpses scattered everywhere. Abdeen didn’t give much
thought to what he heard, knowing that people always tend to
exaggerate, as if they fed on rumors. He stepped aside and
walked over to a nearby vendor to buy something.
Meanwhile, he heard his father calling for him to hurry.
Abdeen slipped the item into his pocket, handed the vendor
the money, and hurried back to the car.
Mr. Ismail bought what he needed and sold everything he had.
They set off on their way back. The city was only fifteen
kilometers away from their village. When they entered their
home, Mr. Ismail's wife was in the kitchen, and little Fatima
was in her bed. As for Sarah, she never missed an opportunity
to joke with Abdeen; so, as he stepped through the door, he

18
called out, 'Hey, you little nuisance, come see what I got for
you.' She rushed toward him, her ability to transform from an
annoying, frowning girl into a sweet one evident in her silence
when she learned that someone had brought her a gift.
Abdeen remained standing at the door when his father asked
him to unload the pesticides from the car into their storage
shed in the field. Once he was finished, he went to a nearby
river to wash up before entering the house, concerned that his
body might carry pesticide residue, especially since they had
an infant at home.
The weather was calm and beautiful, with cool breezes gently
caressing the tree leaves, producing a soft rustling sound
every now and then. Abdeen, who loved gazing at the sky,
stood there, admiring the beautiful deep blue that stretched
before him. He gave a slight nod, snapping back to reality
after his moment of deep contemplation, as though trying to
push away a fleeting memory from days long past.

He walked slowly toward the irrigation canal of their farm, his

steps slow and deliberate, his hands buried deep in the pockets
of his dirty trousers. He passed the wooden fence around their
house, took a left turn, his thoughts scattered, and reached the

19
stream, where he stood motionless, captivated by its tranquil
movement.
Here, where he stands now, three days ago, Sandra had
begged him to convince his family to leave this place. Here,
where she had pleaded with him in tears—why had she cried?
Was it from the fear of separation, or out of concern for his
safety? And why the fear? Had their homeland become a
place of danger for its children?”
Amid his questioning, a blinding light split the sky, almost
blinding him. A deafening roar followed, shaking the earth
beneath him and deafening his ears with a resounding boom.
His body trembled, and he collapsed to the ground, steadying
himself on his hands.
He tried to stand, the sound still lingered in his ears, when an
even more deafening noise erupted. He fell to the ground,
shielding his head with his hands as pieces of rubble rained
from the sky. He couldn’t comprehend what had happened
until he raised his head. The only sound was a faint buzzing,
and it felt as though the world had fallen silent—as if he had
lost his hearing. His gaze fixed ahead, and he stood frozen for
a moment before letting out a scream. Where his house had
once stood, there was now only a heap of rubble. In war, one
must never trust the sky. He ran toward the remnants of his

20
home, where the flames that had been rising from it were now
extinguished, suffocated by the rubble.
Drowning in despair, he bent down to lift the rocks, only to
find that even his once-strong physique had failed him. The
groaning sound still echoed in his ears. Frantic, he moved in
every direction over the rubble, his bloodied feet stumbling as
he searched desperately for the source of the sound—or
perhaps for a glimmer of reassurance to calm his heart, which
now beat so loudly it echoed in his ears. His devastation
reached its peak when his eyes caught sight of a severed hand,
cloaked in dust, with his father’s watch still strapped around
its wrist. He let out a scream so piercing it seemed to tear the
heavens themselves: "Father!"
He lifted the nearby rock and found his father lying face
down. His face was smeared with blood, and his body lay
lifeless, devoid of any sign of life. Panic surged through him,
as the thought struck him that he might still save someone
from his family. The groaning continued, relentless and
haunting. In a state of hysteria, Abdeen frantically searched
through the rubble, driven by a faint glimmer of
hope—desperately clinging to the chance of finding his family
buried beneath the debris.

21
With relentless effort, he lifted a massive rock, his hands
cracked and bleeding from the strain, yet he felt nothing. He
continued to move the rock until he finally managed to push it
aside. Shock, when it takes hold of a person, wounds the heart
and numbs the body. His gaze froze, and he collapsed to his
knees, staring at the once-beautiful face now shattered
beneath the rubble.
As he drowned in despair, a memory from the previous day
surfaced in his mind. He had teased her, saying, "You,
sharp-tongued one... you with the big mouth." She had been
upset with him, despite knowing it was just a joke. Her gift
was still in her hand, and she seemed happy with it. He bent
down and kissed her forehead, his heart shattered, his body
trembling. In a trembling, broken voice, he whispered, "You
are the most beautiful, Sarah... you are the most beautiful.
Rise, Sarah, for I cannot endure this parting, my sister."
With trembling hands, he pried open her bloodstained fingers
and retrieved the necklace, his own hands quivering as though
too weak to hold it. The sound had subsided when he sat
beside his sister’s lifeless body, but it returned—this time, so
close that he didn’t need to search. He turned toward a nearby
rock, gripping it with his bleeding hands, leaning his weight
against it, and using his elbow to push it aside. After

22
successfully overturning it, he began clearing away the stones
and the pile of wooden debris beneath, until he uncovered the
source of the sound. Throwing himself toward his mother, he
embraced her with the full weight of his grief.
The mother was curled up, as if in a posture of worship.
Beneath her, she cradled the tiny child, while the rocks had
crushed her fragile back. Her frail body had proven mightier
than the shell that had struck the house, stronger than the
crushing weight of the rubble. It seemed she had fought
valiantly to keep her child alive, her very being a shield in this
ultimate sacrifice. When a woman loves, she relegates death
to the margins of her existence. His veins bulged, the tendons
in his neck strained, and his face turned crimson as he lifted
his mother with a desperate cry. He wailed, pressing frantic
kisses to her face, which seemed untouched by death. His
arms encircled her frail body, while his eyes darted between
Sarah and his father. A single tear, still wet on his mother’s
face, bore silent witness to her agony. Perhaps she had cried
out, perhaps she had suffered. He had never before felt fear,
terror, and confusion as profoundly as he did in that moment.
He held the child close to his chest. She wept until weariness
overtook her, and her sobs softened as her terror ebbed.
Perhaps she had saved her tears for what lay ahead—a life

23
without a mother or father. Her only fault was being born in a
land perpetually visited by war.
He wanted to lay her down and search for someone to help
him recover and bury the bodies, but then he heard distant
cries, screams. It seemed a family was in danger, though there
were no nearby houses except for the field. Even Mr.
Emmanuel’s house, which was some distance away, had been
reduced to rubble and was now empty.
Meanwhile, a figure appeared in the distance, its features too
unclear to make out. The person seemed to stagger as he ran
toward him. Abdeen continued to watch him indifferently,
until the man drew closer, shouting words that Abdeen
couldn’t understand due to his coughing.
In his forties, the man was stocky, with blood pouring heavily
from his leg. He had a gunshot wound in his abdomen,
pressing his hand against it as he walked, trying to stem the
flow of blood. Abdeen approached and laid him down gently.
The man's soul seemed to be slipping away, his voice
weakening as he told Abdeen, “Run. Run toward the empty
land. They’re coming. They’ll kill you.”
Abdeen told him not to speak and rushed to find something to
cover the man’s wound, but the man grabbed his hand. His

24
voice was broken and barely audible as he said, “Don’t try;
my wound is poisoned. But please, run. Run toward life.”
He was interrupted, gasping three times. He struggled
desperately to breathe, but it was futile. Abdeen closed his
eyes, then rose slowly, ready to continue pulling the bodies
from under the rubble to bury them. His steps were eerily
silent, his expression despondent, his heart broken, as if his
soul had ascended with theirs to the sky. He longed for
someone to pat him on the shoulder, telling him it was all just
a dream, but deep down, he knew that would never happen.
He turned his gaze toward the little girl, who had drifted into
sleep, perhaps from the exhaustion brought on by the crying
under her mother's embrace. He turned to his family, lying in
peaceful beauty, Even though their blood had mixed with the
dirt. They resembled humble monks or devout imams in
prayer. He looked at his father, those eyes now closed by
death. A flood of memories swept over him. He gazed at
Sarah, who had never appeared so calm before. He wished she
would rise and tease him with her usual sharp tongue. His
eyes fell on her necklace, now wrapped around his neck—its
strange shape a reminder that her fleeting joy with it had been
stolen by death. He recalled how she had embraced him when
she saw the gift. A cold, sorrowful smile tugged at his lips.

25
He turned his gaze once more to his mother, bent as if she
were still cradling Fatima, her fragile form curved like a
worshipper in prayer. A tear rolled down his cheek, as large as
a raindrop. He looked up at the sky, his eyes filled with a
mixture of reproach, bewilderment, and silent questioning. Do
the deceased know that their departure leaves us to suffer?
His rural, sturdy body helped him lift the rocks and drag the
bodies from beneath them. Despite the chilly breeze, sweat
drenched his body. He wiped his brow and eyes with the cuffs
of his sleeves. He dug four graves, three of them side by side,
with the fourth nearby, reserved for the stranger. He began
carrying his sister to her final resting place, weeping
uncontrollably, tears streaming down his face. The weight of
his father's massive body, even with the severed arm, drained
him. However, his frail mother proved easier to carry.
He sat down to rest for a moment, then resumed his task,
burying the stranger first. Afterward, he stood over his
family's graves, utterly exhausted and powerless. He knelt and
began crying deeply, overwhelmed by the heat of farewell, the
ache of loss, and the relentless tears of no return. It was as if
he were crying for the last time, consumed by a sorrow too
great to express. He never imagined that life would steal his
family away so suddenly. In a single, devastating moment, he

26
became both an orphan and a father—a child mourning the
loss of his parents and sister, and a man now responsible for
raising a child.
A little while ago, he had been happy, so much so that he had
forgotten Sandra’s absence. But he should have known that
happiness is deceitful, hiding sorrow behind its arrival. He
began to cover their faces with dirt, his tears mingling with
the dust on his cheek. When he had finished burying them, he
stood and embraced Fatima, saying, “It’s just you and me
now. You and me, and against us, fate and the homeland.”
Abdeen and his family didn’t ask for much. They only wanted
something simple—a small town that grows with life: the
tender conversations between lovers, spontaneous smiles, the
colors of the buildings, street musicians, flower vendors, and
the old cafés. They wanted a little bit of life and a lot of love.
But who took all of that away?

27
 ‫النص األصلي من رواية ”أنكميدو“ (الصفحات ‪)20-13‬‬

‫كان صوت الموسيقى الهادئ‪ ،‬والمنبعث من راديو ال َّسيَّارة‪ ،‬مع لون الحقول‬
‫الخضراء‪ ،‬كلّها قد عملت على تحريك مشاعر قويَّة عند عابدين الَّذي كان يجلس‬
‫في الخلف متأمِّال المنظر‪ .‬وألوَّ ل مرَّ ة أحسَّ بأ َّنه بعيد ج ًّدا عن ساندرا‪ ،‬الَّتي‬
‫رحلت مع عائلتها منذ ثالثة أيَّام‪ .‬كان والده‪ ،‬ال َّسيِّد إسماعيل‪ ،‬يرمقه من حين إلى‬
‫آخر بنظرة من مرآة ال َّسيَّارة وهو يقود‪ ،‬وكأ َّنه يتف َّقد شيًئ ا‪ .‬كان يعرف أنَّ ولده‬
‫متيَّم بهذه الفتاة‪ .‬أراد أن يكسر حاجز الصَّمت ويقطع أفكاره‪ ،‬أل َّنه كان يعرف ما‬
‫معنى أن تنتزع منك الحياة شيًئ ا تحبّه رغمًا عنك!‬
‫حس ًنا ُب َني‪ ،‬بعد ال َّتفكير وجدت أنَّ قرارك صائب‪ ،‬وأ َّنه ال ُب َّد لك من إكمال‬
‫اعترضت على هذا‬ ‫ُ‬ ‫ُ‬
‫كنت قد‬ ‫الجامعة في المدينة كما قلت لي‪ .‬وال أعرف أيضًا لما‬
‫ال َّشيء أوَّ ل مرَّ ة‪.‬‬
‫ينفث دخانها وهو يقود‪ ،‬قائاًل ‪:‬‬ ‫ُ‬ ‫أكمل ال َّسيِّد إسماعيل جملته‪ ،‬وأشعل سيجار ًة وأخذ‬
‫ليس هذا فحسب‪ ،‬بل قرَّ رت أن اشتري لك سيَّارة‪ .‬ربَّما أنت ال تستطيع المكوث‬
‫في المدينة‪ ،‬أليس كذلك؟ وطريق المدينة طويل عندما تقطع ُه سيرً ا‪.‬‬
‫بهز رأسه وز ّم شفتيه‬ ‫كان عابدين شارد الذِهن‪ ،‬لم يجب بنعم أو ال‪ ،‬اكتفى فقط ّ‬
‫مواف ًقا‪ ،‬وهو يعرف أنَّ رغبته لم تكن كالسَّابق عندما طلب من والده أن يكمل‬
‫تعليمه مع ساندرا‪ .‬فعندما تموت الرغبة يصبح الوصول بال معنى تغيَّر صوت‬
‫الموسيقى في راديو ال َّسيَّارة إلى موسيقى تمهيديَّة قصيرة ما قبل نشرة األخبار‪.‬‬
‫رفع ال َّسيِّد إسماعيل صوت الرّ اديو‪ ،‬حيث بدأ المذيع يتح َّدث عن جماعات إرهابيَّة‬
‫وصفها بأ َّنها من أخطر العصابات الَّتي مرَّ ت على هذا الكوكب‪ ،‬وأ َّنهم قد‬
‫سيطروا على مدينة قريبة‪ ،‬حيث استباحوا من فيها‪ ،‬قتلوا رجالها وأخذوا نساءها‪،‬‬
‫وانقضّوا على األطفال وزجّ وهم في شاحنات كبيرة وأخذوهم إلى معسكرات‬
‫تدريب خاصَّة بهم‪ .‬وختم المذيع كالمه‪" :‬لك َّنهم سيُدحرون ولن يبقوا طوياًل ‪".‬‬
‫أطفأ ال َّسيِّد إسماعيل راديو ال َّسيَّارة بتو ُّتر وخوف‪ ،‬حاول إخفاءه لك َّنه لم يخف‬
‫على عابدين‪ ،‬الَّذي ظ َّل صام ًتا إلى أن وصلوا إلى طرف المدينة كعادتهم كل‬
‫يوم‪ ،‬فهذا مشوراهم لبيع ما أنتجته ماشيتهم‪ ،‬وشراء بعض المُبيدات الحشريَّة‬
‫للحقل‪ .‬حيث أ َّنهم في الفترة األخيرة أصبحوا يبيعون المزيد من منتجاتهم لل ُت َجار‪،‬‬
‫وأصبحت تدر عليهم الكثير من األرباح‪ .‬ال سيَّما أنَّ هذ ِه ال َّشائعات (شائعات‬

‫‪28‬‬
‫الحرب) قد شجَّ عت ال َّناس في المدينة على شراء كل ما يمكن شراؤه لغرض‬
‫ال َّتخزين‪ .‬فعندما يسمع اإلنسان بالحرب‪ ،‬فإ َّنه يَؤ مِن قوت بطنه قبل أن يَؤ مّن‬
‫روحه‪.‬‬
‫تح َّدث ال َّناس‪ ،‬الَّذين كانوا متواجدين لل َّتبضُّع‪ ،‬عن ليلة قاسية مرَّ ت بهم‪ ،‬وعن‬
‫القذائف الكثيرة الَّتي سقطت على مدينتهم والَّتي أمطرت بها الجماعات اإلرهابيَّة‬
‫المدينة‪ .‬كان عابدين قد ا َّتكأ على سيَّارتهم بعدما انتهى من تفريغ حمولتها‬
‫وتحميلها المبيدات الحشريَّة الاَّل زمة‪ ،‬وبانتظار والده الَّذي ذهب ليستلم المال‪ .‬كان‬
‫واق ًفا ويديه إلى صدره عندما كان هناك رجالن يتح َّدثان‪ ،‬كل ما سمعه منهما هو‬
‫عن العصابات وحرب ال َّشوارع الَّتي حدثت وعن الجثث المنتشرة‪ .‬لم يهتم‬
‫عابدين لما سمع؛ أل َّنه كان يعلم أنَّ ال َّناس تبالغ في ك ّل شيء‪ ،‬وكأ َّنهم يستم ّدون‬
‫طاقتهم من ال َّشائعات! فتنحَّ ى صوب بائع كان قريبًا منه وذهب إليه ليشتري شيًئ ا‪،‬‬
‫وفي هذ ِه األثناء سمع صوت أبيه مناديًا له أن يسرع‪ .‬وضع عابدين ال َّشيء في‬
‫جيبه وسلَّم البائع ال ُّنقود‪ ،‬وعاد مسرعًا ليركب ال َّسيَّارة‪.‬‬
‫اشترى ال َّسيِّد إسماعيل ما كان يريد‪ ،‬وباع كل الَّذي كان معه‪ .‬سارا في طريق‬
‫العودة‪ ،‬ولم تكن المدينة تبعد عن قريتهم سوى خمسة عشر كيلو مترً ا‪ .‬عندما‬
‫الطفلة‬‫دخال منزلهما كانت زوجة ال َّسيِّد إسماعيل في المطبخ‪ ،‬وكانت فاطمة ِّ‬
‫الصَّغيرة في سريرها‪ ،‬أمَّا سارة فكانت ال تلبث دون أن تمزح مع عابدين دومًا‪،‬‬
‫ُ‬
‫أحضرت‬ ‫ولذا قد صاح عند دخوله الباب‪" :‬أيَّتها المزعجة‪ ،‬تعالي وانظري ما‬
‫لكِ "‪ .‬اندفعت إليه‪ ،‬حيث كان لها قدرة فائقة على أن تتحوَّ ل من فتاة مزعجة ذات‬
‫وجه عبوس إلى فتاة لطيفة دون أن تنطق بكلمة عندما تسمع أن أحدهم اشترى‬
‫لها هديَّة‪.‬‬
‫كان عابدين ال يزال واق ًفا عند الباب‪ ،‬عندما طلب منه والده أن يضع المبيدات‬
‫الحشريَّة الَّتي كانت في ال َّسيَّارة في مخزنها الخاص في الحقل‪ .‬وبعد أن انتهى‬
‫منها‪ ،‬ذهب إلى نهر قريب ليغتسل استعدا ًدا لدخول المنزل؛ خشية أن يحمل‬
‫جسمه شيًئ ا من غبار المبيدات‪ ،‬ال سيَّما أنَّ لهم رضيعة في المنزل‪.‬‬
‫الطقس هادًئ ا جمياًل ‪ ،‬حيث نسمات الهواء الباردة تداعب وريقات‬ ‫بينما كان َّ‬
‫األشجار لتصدر حفي ًفا هادًئ ا بين حين وحين‪ ،‬عابدين الَّذي كان يحب ال َّنظر إلى‬
‫السَّماء‪ ،‬فهي تذ ِّكره بساندرا‪ ،‬وقف يتأمَّلها بزرقتها الجميلة‪َّ .‬‬
‫هز رأسه متن ّبهًا بعد‬
‫استغراق في ال َّتأمُّل‪ ،‬وكأ َّنه يحاول طرد ذكرى عابرة من األيَّام الخوالي‪.‬‬

‫‪29‬‬
‫مشى بخطوات راكدة نحو جدول الرّ ي الخاص بمزرعتهم‪ ،‬يسير واضعًا يديه في‬
‫جي َبيْ بنطاله الم َّتسخ‪ .‬تجاوز السِ ياج الخشبي الخاص ببيتهم‪ ،‬انعطف يسارً ا وهو‬
‫شارد الذِهن‪ ،‬وصل جدول الماء ووقف يتأمَّله‪.‬‬
‫هنا حيث يقف‪ ،‬وقبل ثالثة أيَّام‪ ،‬ترجَّ ته ساندرا أن يُقنع أهله بأن يتركوا المكان‪،‬‬
‫هنا ترجَّ ته وبكت‪ ،‬ولِ َم بكت؟ أخو ًفا من الفراق أم خو ًفا عليه؟ ول َم الخوف؟ هل‬
‫أصبحت األوطان أكثر خطرً ا على أبنائها؟‬
‫شق السَّماء ضو ٌء كاد أن يعمي بصره‪ ،‬تبعه صوت ارتجَّ ت‬ ‫وبين تساؤل وآخر‪َّ ،‬‬
‫له األرض قبل أن يصم ُأذنيه‪ .‬ارت ّج جسمه وسقط أرضًا‪ ،‬لك َّنه استند على يديه‪.‬‬
‫صوت آخر أشد وقعًا‪.‬‬ ‫ُ‬ ‫حاول الوقوف‪ ،‬وكان الصَّوت ال يزال في أذنه ح َّتى جاء‬
‫سقط أرضًا‪ ،‬وضع يديه خلف رأسه محتميًا من الرَّ ذاذ الَّذي أمطرته السَّماء‪ .‬لم‬
‫يكن يفهم ما حصل ح َّتى رفع رأسه‪ ،‬لم يسمع سوى األزيز‪ ،‬وكأنَّ العالم قد‬
‫ص َمت‪ ،‬وكأ َّنه فقد السَّمع! َش َخص ببصر ِه وظ َّل واق ًفا لبرهة قبل أن ينطلق‬ ‫َ‬
‫صارخا‪ ،‬كان منزله قد اختفى وأصبح ركامًا! في الحرب‪ ،‬على المرء أاًل يثق‬ ‫ً‬
‫بالسَّماء‪ .‬كان يركض با ّتجاه المنزل‪ ،‬والَّذي كانت أعمدة ال َّنار المتصاعدة منه قد‬
‫خمدت بفضل الرُّ كام‪.‬‬
‫أخذ يرفع الصُّخور يائسًا‪ ،‬ح َّتى جسم ُه القوي قد خذله‪ .‬كان ال يزال يسمع أني ًنا‪.‬‬
‫باحثا عن‬ ‫ً‬ ‫كل اال ِّتجاهات فوق الرّ كام الَّذي أدمى قدميه‪،‬‬ ‫ارتبك‪ ،‬وصار يذهب في ِ‬
‫الطمأنينة في قلبه الَّذي بات يسمع صدى‬ ‫مصدر الصَّوت‪ ،‬أو على أمل يبث ُّ‬
‫غطاها‪،‬‬ ‫ضرباته في ُأذنيه‪ .‬كانت فاجعت ُه عندما رأى ي ًدا مبتورة‪ ،‬كان الغبار قد َّ‬
‫شق صداه السَّماء‪" :‬أبي!"‬‫وكانت ساعة أبيه على معصمها! صرخ بصوت قد َّ‬
‫رفع الصَّخرة القريبة ح َّتى وجد أباه مم َّد ًدا على وجهه‪ .‬كان وجهه عبارة عن‬
‫دماء‪ ،‬ولم يكن للحياة أثر في جسده‪ .‬زاد ارتباكه وهلعه‪ ،‬أل َّنه ربَّما يستطيع إنقاذ‬
‫مستمرا‪ ،‬وبدأ عابدين يبحث بين الرُّ كام‬ ‫ًّ‬ ‫من بقي من عائلته‪ .‬ال يزال ذلك األنين‬
‫وبأمل ضئيل عسى ولع َّل يجد عائلته الَّتي ُدفِنت تحت‬ ‫ٍ‬ ‫بحركات هستيريَّة‪،‬‬
‫الصُّخور‪.‬‬
‫رفع صخرة كبيرة ح َّتى تش َّققت يداه‪ ،‬وباتت دماؤه تسيل من ك َّفيه‪ ،‬لك َّنه لم يشعر‪.‬‬
‫وال يزال يرفع الصَّخرة ح َّتى أبعدها‪ ،‬ال سيَّما أنَّ الصَّدمة عندما تحل بإنسان فهي‬
‫ُتدمي قلبه‪ ،‬و ُتخ ِّدر جسمه‪ .‬شخصت أبصاره‪ ،‬وقع على ركبتيه‪ ،‬أخذ بال َّنظر إلى‬
‫الوجه الجميل الَّذي َّ‬
‫حطمه الرِّ كام‪.‬‬

‫‪30‬‬
‫الحت له وهو في هذا الحال ذكرى حدثت البارحة‪ ،‬عندما قال لها "يا سليطة‬
‫اللسان‪ ..‬ياصاحبة الفم الكبير"‪ ،‬كانت غاضبة منه رغم علمها بمزاحه‪ ،‬وهديَّتها ال‬
‫تزال بيدها‪ ،‬يبدو أ ّنها كانت فرحة بها‪ .‬انحنى على جبينها يقبِّله‪ ،‬وهو مفطور‬
‫ت‬‫ت األجمل يا سارة‪ ،‬أن ِ‬ ‫متقطع همس لها وقال‪" :‬أن ِ‬ ‫ّ‬ ‫القلب يرتعش‪ ،‬وبصوت‬
‫األجمل‪ ..‬أنهضي يا سارة فال أقوى على الفراق يا أختي"‬
‫فتح يدها ال َّدامية وأخذ القالدة بي ٍد كانت ترتعش وكأ َّنها ال تستطيع أن تحملها‪ .‬كان‬
‫الصَّوت قد هدأ عندما جلس بالقرب من أخته الميِّتة‪ ،‬إاَّل أ َّنه عاد‪ ،‬وهذه المرَّ ة كان‬
‫قريبًا لدرجة أ َّنه لم يبحث‪ ،‬بل ا َّتجه لصخرة قريبة‪ ،‬رفعها بيده ال َّدامية واستعمل‬
‫مرفقه ووضع نصف جسمه ح َّتى يرفعها‪ ،‬وعندما نجح في قلب تلك الصَّخرة بدأ‬
‫يرفع الصُّخور وكومة األخشاب الَّتي تحتها ح َّتى وجد الصَّوت‪ ...‬رمى بجسده‬
‫نحو أمّه‪.‬‬
‫كانت األم متكوِّ رة وكأ َّنها تؤدِي طقسًا من طقوس العبادة‪ ،‬وهي تحتضن تحتها‬
‫حطمت ظهرها ال َّنحيل‪ .‬كان جسدها الضَّعيف‬ ‫الطفلة الصَّغيرة‪ ،‬والصُّخور قد َّ‬ ‫ِّ‬
‫أقوى من القذيفة ا َلتي سقطت على المنزل‪ ،‬وأقوى من الرّ كام‪ ،‬ويبدو أ َّنها عملت‬
‫جاهدة على أن ُتبقي طفلتها الصَّغيرة على قيد الحياة‪ ،‬حيث كان لجسدها دور في‬
‫هذا‪ .‬فالمرأة عندما تحب شيًئ ا فأنها تضع الموت على الهامش‪ ،‬تورَّ مت أوداجه‪،‬‬
‫ُقبل‬‫بانت عروق رقبته وأحمرَّ وجهه عندما رفع أمّه وصرخ‪ .‬بدأ يصرخ وي ِ‬
‫وجهها الَّذي بقي كما هو‪ .‬كان جسده يحتضن الجسد الهزيل‪ ،‬وعيناه تذهبان مرَّ ة‬
‫على أخته سارة ومرَّ ة على أبيه ‪.‬كانت هناك دمعة لم تجف على وجه أمّه‪ ،‬يبدو‬
‫أ َّنها صرخت‪ ،‬يبدو أ َّنها تألمت‪ .‬لم يكن أشد خو ًفا ورعبًا وارتبا ًكا كما هو اآلن‪.‬‬
‫الطفلة إلى صدره‪ .‬كانت تبكي ح َّتى تعبت وهدأ روعها‪ ،‬وخفَّ بكاؤها‪ ،‬ربَّما‬ ‫ض َّم ِّ‬
‫خبَّأته للقادم‪ ،‬ال سيَّما وأنَّ القادم ستعيشه من دون أم وال أب‪ .‬ذنبها الوحيد أ َّنها‬
‫وُ لِدت في بلد تزوره الحروب كثيرً ا‪.‬‬
‫أراد وضعها على األرض‪ ،‬والبحث عن شخص يساعده في سحب الجثث ودفنها‪،‬‬
‫لك َّنه سمع أصوا ًتا‪ ،‬صرخات بعيدة‪ .‬يبدو أنَّ هناك عائلة في مأزق‪ ،‬على الرَّ غم‬
‫من عدم وجود بيوت قريبة منه سوى الحقل‪ ،‬وكان بيت ال َّسيِّد إيمانويل الَّذي يبعد‬
‫عنه مسافة أيضًا قد أصبح ركامًا‪ ،‬لكنَّ البيت كان فار ًغا‪.‬‬
‫في هذ ِه األثناء‪ ،‬بان له شخص غير واضح المالمح‪ ،‬أل َّنه كان بعي ًدا عنه‪ ،‬وبدا‬
‫لعابدين أنَّ هذا ال َّشخص يتمايل وهو يجري با ّتجاهه‪ .‬ظ َّل عابدين يراقبه‬

‫‪31‬‬
‫ت لم يفهم معناها أل َّنه‬‫بالمباالة‪ ،‬إلى أن اقترب شيًئ ا فشيًئ ا‪ ،‬وظ َّل يصرخ بعبارا ٍ‬
‫كان يسعل‪.‬‬
‫كان الرَّ جل في األربعين من العمر‪ ،‬وكان ممتلئ الجسم وال ّدماء تسيل من ساقه‬
‫الثقب‬ ‫بغزارة‪ ،‬وهناك إطالقة في بطنه‪ ،‬يضغط عليها بيده وهو يمشي محاواًل سد ُّ‬
‫الَّذي تسيل منه ال ّدماء‪ .‬بدأ يقترب‪ ،‬فتق َّدم منه عابدين وم َّدده‪ .‬كانت الرُّ وح على‬
‫وشك المغادرة من جسد هذا الرَّ جل‪ ،‬الَّذي بدأ صوته يهدأ شيًئ ا فشيًئ ا‪ ،‬وهو يقول‬
‫لعابدين‪" :‬اهرب‪ .‬اهرب با ِّتجاه األرض الخالية‪ .‬إ َّنهم قادمون‪ .‬سيقتلونك"‪.‬‬
‫طلب منه عابدين عدم الكالم‪ ،‬أراد أن يبحث عن شيء يضعه على جرح الرَّ جل‪،‬‬
‫متقطع شبه مفهوم‪" :‬ال تحاول؛ لقد‬ ‫ّ‬ ‫لك َّنه أمسك بيد عابدين وقال كالمه بصوت‬
‫تسمَّم جرحي‪ .‬لكن أرجوك‪ ،‬اهرب‪ ،‬اهرب نحو الحياة"‪.‬‬
‫قطع كالمه وشهق ثالث مرَّ ات‪ .‬حاول جاه ًدا ال َّتن ُّفس‪ ،‬ولكن دون جدوى‪ .‬فأغمض‬
‫عابدين عينيه‪ ،‬وه َّم واق ًفا ليعاود سحب الجثث من تحت األنقاض لدفنها‪ .‬كان‬
‫يسير على نحو هادئ ج ًّدا‪ ،‬يائس المالمح‪ ،‬منكسر القلب‪ ،‬وكأنَّ روحه قد ذهبت‬
‫معهم نحو السَّماء‪ .‬ك ّل ما يريده هو أن يربّت أحد على كتفه ليخبره أنَّ كل هذا‬
‫حلم‪ ،‬لك َّنه يعلم أنَّ هذا لن يحصل‪.‬‬
‫التفت إلى الصَّغيرة‪ ،‬وكانت قد َّ‬
‫غطت في ال َّنوم‪ ،‬ربَّما من ال َّتعب الَّذي ح َّل بها من‬
‫الصُّراخ وهي تحت أمّها‪ .‬والتفت إلى عائلته‪ ،‬والَّتي كانت بدورها هادئة جميلة‪،‬‬
‫ب خاشع‪ ،‬وكإمام مسج ٍد ساجد‪.‬‬ ‫رغم دمائها الَّتي اختلطت بال ُّتراب‪ .‬كانوا كراه ٍ‬
‫نظر إلى أبيه‪ ،‬إلى تلك العيون الَّتي أغمضها الموت‪ ،‬مرَّ عليه سريعًا شريط‬
‫يرها ساب ًقا بهذا الهدوء‪ ،‬كان يريد منها‬ ‫الذكريات‪ .‬مرَّ ر عينيه على سارة‪ ،‬الَّتي لم َ‬ ‫ِّ‬
‫ال ُنهوض كي تمازحه بكلماتها الحا َّدة‪ ،‬نظر إلى قالدتها الَّتي قد لفَّ بها رقبته‪،‬‬
‫القالدة ذات ال َّشكل الغريب‪ ،‬والَّتي لم تدم فرحتها بها سوى دقائق قبل أن يسرقها‬
‫الموت‪ .‬تذ َّكر كيف عانقته عندما رأت الهديَّة‪ .‬ابتسم ابتسامة باردة‪ ،‬ابتسامة حزن‪.‬‬
‫التفت التفاتة أخرى إلى أمِّه‪ ،‬الَّتي كانت محنيَّة كأ َّنها ال تزال تحتضن فاطمة‪،‬‬
‫جسدها الهزيل المحني كأ َّنه عابد في صالته‪ .‬سالت دمعة على خ ِّده‪ ،‬كبيرة كحبَّة‬
‫المطر‪ .‬نظر إلى السَّماء نظرة اختلط بها العتب وال ّتيه وال َّتساؤل‪ .‬أيعلم الموتى‬
‫أ َّنهم يميتوننا برحيلهم؟‬

‫‪32‬‬
 ‫ساعده جسده القروي والقوي على رفع الصُّخور وجر الجثث من تحتها‪ .‬رغم أنَّ‬
‫هناك نسمات هواء باردة‪ ،‬إاَّل أنَّ جسده بات متعرِّ ًقا‪ .‬أخذ يمسح العرق عن جبينه‬
‫وعينيه بأطراف أكمامه‪ ،‬حفر أربعة قبور‪ ،‬ثالثة منها بجانب بعضها البعض‪،‬‬
‫واآلخر قريب منها وهو للرَّ جل الغريب‪ .‬بدأ بحمل أخته إلى مثواها‪ ،‬كان يبكي‬
‫جثة أبيه الضَّخمة‪ ،‬رغم أ َّنها مبتورة اليد‪ .‬أمَّا أمّه‬ ‫ح َّتى أ َّنه أسرف بال ُّدموع‪ .‬أنهكته َّ‬
‫الهزيلة‪ ،‬فلم يجد صعوبة في حملها‪.‬‬
‫جلس ليستريح هنيهة‪ ،‬ث َّم أكمل ما بدأ به‪ ،‬حيث دفن الشخص الغريب وبعدها‬
‫خائر القوى‪ .‬جثا على ركبتيه وأخذ يبكي‬ ‫َ‬ ‫وقف على قبور عائلته‪ ،‬كان منه ًكا‪،‬‬
‫بحرارة‪ .‬حرارة الوداع‪ ،‬بكاء الفقد‪ ،‬دموع الاّل عودة‪ ،‬وكأ َّنه يبكي آلخر مرَّ ة‪ ،‬فأيّ‬
‫حزن أل َّم بهِ! لم يكن يتو َّقع أن تسرق الحياة منه عائلته‪ ،‬على غفلة تحوَّ ل إلى يتيم‬
‫مسؤول عن طفلة‪.‬‬
‫ٍ‬ ‫وأب‪ ،‬إلى طفل يبكي فقد أمّه وأبيه وأخته‪ ،‬وإلى رجل‬
‫السعادة‬‫قبل قليل كان سعي ًدا ح َّتى أ َّنه نسي غياب ساندرا‪ .‬كان عليه أن يعلم أنَّ َ‬
‫ماكرة‪ ،‬فهي قد تخبّئ خلفها الحزن عندما تأتي‪ .‬بدأ يهيل ال ُّتراب على وجوهم‪.‬‬
‫اختلط على خ ّده ال ُّدموع والغبار‪ .‬وعندما انتهى من دفنهم‪ ،‬وقف واحتضن فاطمة‬
‫ت وحيدين اآلن‪ .‬أنا وأنتِ‪ ،‬وض ّدنا األقدار والوطن"‪.‬‬ ‫وقال لها‪" :‬أنا وأن ِ‬
‫بسيطا كمدينة‬‫ً‬ ‫لم يكن عابدين وعائلته يريدون شيًئ ا كبيرً ا‪ ،‬كانوا يريدون شيًئ ا‬
‫صغيرة تكبر بالحياة‪ ،‬بتفاصيل الحديث بين الحبيبين‪ ،‬بعفويَّة االبتسامات‪ ،‬بألوان‬
‫المباني‪ ،‬بعازفي الرَّ صيف‪ ،‬بائعي الورد‪ ،‬وبالمقاهي القديمة‪ .‬كانوا يريدون القليل‬
‫من الحياة‪ ،‬والكثير من الحب‪ .‬ولكن‪ ،‬من سرق كل هذا؟‬

‫‪33‬‬
Conclusion:
In this research, I addressed the challenges I encountered
while translating texts from Arabic to English, where it was
essential to deal with emotional, cultural, and figurative
vocabulary accurately. I faced difficulties translating certain
words and figurative expressions that did not have direct
equivalents in English. However, by researching and using
appropriate dictionaries and references, I was able to find
solutions that ensured the translation’s accuracy while
maintaining its cultural and linguistic meaning. This
experience helped me enhance my translation skills and gain a
better understanding of different languages and cultures.
​ 1.Translating Emotionally Rich Words
-​ The word “‫ ”متيَّم‬conveys deep love and attachment,
making it difficult to find an exact equivalent in English.
Options like “mad in love” seemed too intense, while
“infatuated” felt too shallow. After considering various
alternatives, I chose “deeply in love” as it best captures
the depth of the emotion without exaggeration.
​ 2.Translating Verbs with Multiple Meanings
-​ I encountered difficulty translating “‫”وز ّم شفتيه موافقًا‬
because I wasn’t familiar with the exact meaning of the
verb “‫ ” َز َّم‬in this context. After consulting the Almaany
Dictionary, I found that it means “to purse one’s lips
tightly,” often indicating thinking, hesitation, or silent

34
 agreement. I opted for “pursing his lips in silent
agreement” as it conveyed the intended meaning clearly.
​ 3.Translating Cultural Expressions
-​ Translating “‫ ”حاول إخفاءه لكنَّه لم يخف على عابدين‬required
conveying the idea that Mr. Ismail’s attempt to hide his
feelings failed because Abdeen was observant enough to
notice. I translated it as “Though he tried to conceal his
discomfort, Abdeen, always alert, noticed it and
remained silent…” to maintain the intended meaning
without unnecessary repetition.
​ 4.Describing Sudden Light in the Sky
َّ ‫ ”ش‬was challenging because I
-​ Translating “‫ق السَّماء ضو ٌء‬
needed to express the dramatic image of light splitting
the sky. After consulting the Reverso Dictionary, I chose
the translation “a blinding light split the sky,” as it
effectively conveys the intensity of the light using a
common expression in English, maintaining the original
impact.
​ 5.Translating Harsh Expressions
-​ Translating “‫ ”يا سليطة اللسان‬was difficult because there
was no direct equivalent in English. By referring to the
Al-Maany Dictionary of Arabic Terminology, I
understood that it refers to someone who speaks sharply.
I chose to translate it as “sharp-tongued one,” a widely
used expression in English to describe someone with a
biting or harsh manner of speaking.

35
​ 6.Translating Tension in the Neck
-​ The difficulty I encountered was translating “‫تورَّمت‬
‫أوداجه‬.” I didn’t fully understand the meaning of the word
“‫أوداجه‬,” so I consulted the “Al-Ma’jam Al-Waseet”
online dictionary. I learned that “‫ ”األوداج‬refers to the
veins in the neck, specifically those that become
prominent when a person is agitated or angry. In the
translation, I used “the tendons in his neck strained,” as
“strained” accurately captured the tension in the neck due
to anger or anxiety.
​ 7.Translating Cultural Vocabulary
-​ In the sentence “‫أخذوهم إلى معسكرات تدريب خاصَّة بهم‬,” the
term “training camps” may require a precise translation
to be understood in a Western context. In English, the
term “training camps” might not carry the same cultural
impact as it does in Arabic.
-​ The term “private training camps” was chosen as it is
more culturally appropriate and comprehensible in the
Western context.
-​ The Cambridge Dictionary was used as the primary
source to select the most accurate and suitable translation
in this context.

36
 8.Translating Figurative Expressions
-​ The phrase “‫ ”فعندما تموت الرغبة يصبح الوصول بال معنى‬may be
difficult to translate literally.
-​ It was rephrased in English to “Once desire fades, its
pursuit loses all meaning” to remain accurate while being
smooth and understandable.
-​ The translation adjusts the metaphor while preserving the
original meaning, making it suitable for English
speakers.
​ 9.Translating Figurative Language in Context
-​ In the sentence “‫ فإنَّه يَؤ ِمن قوت بطنه‬،‫فعندما يسمع اإلنسان بالحرب‬
‫قبل أن يَؤ ّمن روحه‬,” it was difficult to convey the figurative
meaning literally in English.
-​ Therefore, the translation was adjusted to: “When people
hear of war, they prioritize securing food before ensuring
their own safety.” This version retains the figurative
meaning while making it clearer and more fluid for
English-speaking readers.
​ 10.Translating Cultural Vocabulary and Routine
-​ In the sentence “‫ وشراء بعض‬،‫هذا مشوارهم لبيع ما أنتجته ماشيتهم‬
‫ال ُمبيدات الحشريَّة للحقل‬,” the word “‫ ”مشوارهم‬refers to their
daily journey or routine for completing certain tasks.
However, this word may not carry the same cultural
meaning in English.
-​ To resolve this, I used “their daily routine” in the English
translation, as “routine” refers to the usual set of tasks

37
 someone does every day, making it easy to understand
and conveying the intended meaning. The Cambridge
Dictionary confirmed that “routine” works well for this
context.
​ 11.Translating Cultural Shopping Terms
-​ In the sentence “‫ الَّذين كانوا متواجدين للتَّبضُّ ع‬،‫تح َّدث النَّاس‬,” the
word “‫ ”التبضُّ ع‬was used. This term has a cultural meaning
that may not be immediately understood by a Western
reader.
-​ “‫ ”التبضُّ ع‬refers to the act of shopping or being in a market
to purchase goods, which is specific to Arab contexts. To
ensure clarity for a Western audience, the word
“shopping” was used in the translation. “Shopping” is a
more familiar term in Western culture, and it effectively
conveys the idea of purchasing goods.
​ 12.Translating Metaphorical Imagery
-​ The Arabic sentence “‫وضع يديه خلف رأسه محتميًا من الرَّذاذ الَّذي‬
‫ ”أمطرته السَّماء‬contains the word “‫الرذاذ‬,” which might be
obscure or unfamiliar to some Western readers.
-​ In the English translation, “shielding his head with his
hands as pieces of rubble rained from the sky” was used
to reflect the meaning of the sentence. Here, “‫ ”الرذاذ‬was
replaced with “pieces of rubble,” a phrase that better
conveys the idea of heavy materials falling intensively,
aligning more with the context of combat or war.

38
​ 13.Translating Emotional Expressions
-​ The Arabic sentence “‫”كانت هناك دمعة لم تجف على وجه أ ّمه‬
contains the phrase “‫دمعة لم تجف‬,” which refers to a tear
that still holds the trace of sorrow and pain. This concept
might be difficult to translate accurately to English,
especially if taken literally.
-​ In the English translation, “A single tear, still wet on his
mother’s face” was used to reflect the meaning.
However, to convey the sorrow more strongly, the
translation could be improved to “A single tear, still fresh
on his mother’s face, bore silent witness.” The word
“fresh” adds a stronger sense of immediate sorrow, while
the phrase “bore silent witness” emphasizes that the tear
was a silent witness to her suffering.​

39