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Iman Mersal

    Iman Mersal è celebrata per le sue raccolte poetiche in arabo, che esplorano temi di identità e sradicamento. Il suo stile distintivo è contrassegnato da un'acuta osservazione e una prospettiva unica sul mondo contemporaneo. Attraverso il suo lavoro, Mersal sfida le nozioni convenzionali, offrendo ai lettori una lente nuova attraverso cui percepire ciò che li circonda. La sua scrittura è lodata per la sua sensibilità e per la sua abilità letteraria.

    The Threshold
    Traces of Enayat
    • When Iman Mersal stumbles upon a great - yet forgotten - novel written by a young woman who killed herself shortly after her book was rejected by publishers, Mersal begins to research the writer. From archives, Enayat's writing and Mersal's own interviews and observations, a remarkable portrait emerges of a woman attempting to live independently.

      Traces of Enayat
    • A selection of luminous, fiercely intelligent verse from Egypt’s premier poet, Iman Mersal, showcases her as the great outsider poet of the Arab world. Over three decades, she has developed a voice that is both ferocious and tender, street-smart yet vulnerable. Her early work reflects the vibrant energies of Cairo’s literary bohème, a haven for “Lovers of cheap weed and awkward confessions / Anti-State agitators” and “People like me.” These poems blend wit and rage, punctuated by moments of beauty, like the “smell of guava” wafting through the City of the Dead. Other pieces confront themes of profound loss and erotic temptation, capturing “the breath of two bodies that never had enough time / and so took pleasure in their mounting terror.” Mersal’s recent work addresses the challenges of displacement and migration, exploring the risks of crossing personal and political boundaries in literature and life. This collection gathers poems from her first four collections, charting a journey from defiance to the establishment of a new, self-created sensibility. Central to her work is an indefatigably intelligent, funny, and complex persona, as she notes, “I’m pretty sure / my self-exposures / are for me to hide behind.”

      The Threshold