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Quote by Hisham Matar

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In the Country of Men

In this coming-of-age story, a young boy navigates the complexities of his family and the world around him during a time of political unrest in an unspecified Middle Eastern country. The narrative delves into the boy's experiences with his parents, siblings, and the broader society, reflecting on themes of innocence, loyalty, and the impact of political strife on individual lives. more

Author

Hisham Matar
Hisham Matar

Hisham Matar is a Libyan-British writer whose works delve into themes of political oppression, exile, and the human condition. Born in 1970, he is recognized for his novel 'The Return' and his memoir 'In the Country of Men'. more

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“Kila binadamu hapa duniani ni wa thamani kubwa. Chochote utakachofanya, kizuri au kibaya, kidogo au kikubwa, kitabadilisha maisha ya watu. Ukiwa na msingi mzuri kwa mwanao ataishi vizuri atakapokuwa mkubwa, atakuwa na uwezo mkubwa wa kuacha dunia katika hali nzuri kuliko alivyoikuta. Ukiwa na msingi mbaya kwa mwanao ataishi vibaya atakapokuwa mkubwa, atakuwa na uwezo mdogo wa kuacha dunia katika hali nzuri kuliko alivyoikuta. Kuwa mkarimu kwa mazingira, kuwa mkarimu kwa wanyama, kuwa mkarimu kwa binadamu wenzako, kwa faida ya vizazi vijavyo.”

PeopleWorldLifeKindPowerEnvironmentNiceHumanFoundationValueAnimalsChildBenefitDuniaMaishaWatuFuture GenerationsBinadamuUwezoFaidaMkarimuVizazi VijavyoThamaniWanyamaMazingiraKibayaKizuriMwanaoKidogoKikubwaMsingi
Author:Enock Maregesi
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“He got worse as the night wore on. Tessa tried not to think about the wound, tried not to think about what she was going to do if he died and left her alone. Instead, she concentrated on doing what she could to keep the fever down and keep him comfortable, dragging a chair over to the side of the bed when she became too weary to stay awake any longer and dozing in it for short respites. Toward morning, he began to thrash about on the bed, muttering. She bathed his heated skin again and finally climbed into bed beside him. He quieted when she pulled his head against her breasts and stroked his hair soothingly.”

LoveCareHumanParanormalDemon
Book:When Night Falls
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“Certainly, we can no longer look upon the canon of Western art - Greco-Roman as revived, extended, and graced by the Renaissance - as -the- tradition in art, or even any longer as distinctly and uniquely -ours-. That canon is in fact only one tradition among many, and indeed in its strict adherence to representational form is rather the exception in the whole gallery of -human- art. Such an extension of the resources of the past, for the modern artist, implies a different and more comprehensive understanding of the term "human" itself: a Sumerian figure of a fertility goddess is as "human" to us as a Greek Aphrodite. When the sensibility of an age can accommodate the alien "inhuman" forms of primitive art side by side with the classic "human" figures of Greece or the Renaissance, it should be obvious that the attitude toward man that we call classical humanism - which is the intellectual expression of the spirit that informs the classical canon of Western art - has also gone by the boards.”

HumanHumanismModern ArtHuman FormAnti CanonicalCultural DecentralizationExpansion Of Form
Book:Irrational Man: A Study in Existential Philosophy
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