The mysticism of literature for the love of self and others

The idea of ​​“mysticism” refers to an interdisciplinary field: that of the Sufi writers of the Eastern tradition and of the spiritual poets of the Western tradition. It is not a field reserved for theology, especially as it is seen, as Atmane Bissani explains, as a mysterious language of love that spans centuries, nations and beliefs. . It is above all a Nietzschean mystique that cannot be of a religious dimension, as shown by the works submitted in the analysis of Abdelwahab Meddeb, Juan Goytisolo, Driss Chraïbi, Abdelkébir Khatibi and Zakia Zouanat.

The author operates in a perspectivist dialogue with a Renaissance heritage of the East and West with an interdisciplinary approach; he knows that interdisciplinarity can reveal the meaning of a “thing”. In this view, Atmane Bissani rightly remembers that there is no “knowledge that can be fully translated without going through the experience of connection, relationship, contact”. Such a vision would liberate the Sufi and mystical imagination from religious orthodoxy, opening it up to different realms. Mystics chose nomadism to have self -transcendence, which is egocentrism to make the tradition of “Xvarnah”, or divine light, reign.

Atmane Bissani shows that these writers have a penchant for Weltliteratur, where every language speaks to the other and where every culture does not rebuke anyone because there is no pure and original culture. In other words, each culture is inhabited by other cultures. Awliya Allâh seeks divine light through human presence. Reflecting on the image of the woman as an example gives them theophanic vision.

It is in this view that Abdelwahab Meddeb attempts to examine his work, Phantasia – as the presence of matter in the absence of his object (Al Kindi) – by recourse to the epiphanic figure, Aya. This novel relies on Sufi heritage. The character-narrator establishes a relationship with this epiphanic figure in order to attain divine light. But it is also a strategy of rapprochement of cultures through the use of themes of dreams, illusion, presence-absence, and so on. Character-narrative is shared between many cultures and thus constitutes what Meddeb calls “double genealogy”, a way of deconstructing the “house of dogma”.

Juan Goytisolo’s Barzakh is the second novel examined by the author because of its omnipresent mystical dimension. He emphasizes from the beginning that this novel makes death a mysterious experience in a “sepulchral” style. By creating confusion between imagination and reality, Goytisolo introduces his character into a world of despair, allowing him to meet his dead friend and that “makes him discover the mazes ahead”. Like Phantasia, the dream allows the narrator of Barzakh to relive the experience of trance by tearing the barzakh that separates the here below from the forward. Mysticism is basically a “loving” reaction to hatred and the reduction of religion to dogma.

It is in this sense that Atmane Bissani attempts to recall Islam from its origins by analyzing the abyss of the work of Driss Chraïbi, L’Homme du livre. For Atmane Bissani, Chraïbi’s novel is animated to appeal to the mystical. He correctly recalled that “Islam is a tradition of mystical thought”. This means that Islam as a spiritual tradition may face disaster. To use Hölderlin’s formula, “If risk increases, that which survives grows”.

Mysticism can rehabilitate the human dimension of Man

For Atmane Bissani, friendship is a mysterious and loving experience. He clearly analyzes the theme of friendship in the work of Abdelkébir Khatibi, an author who makes love an important concept and a strategy for deconstructing intolerance. Healing this concept from the court of the Medieval tradition, the Khatibi belong to this tribe of mystical writers. Friendship thus becomes an exercise in diversity when it is placed under the sign of love. This, as attachment and detachment vis-à-vis one, facilitates the path between love and friendship.

Mysticism thus forms a shining face in Islam and other religious traditions. In these writers submitted for analysis, the characters are often in exile, in destruction (fanâ) and in unconditional love in relation to the Beloved, God; In short, all Sufi literature is cluttered with an amorous register. It is basically a tradition of gratitude and love. Ibn Arabi states this view: “Love is my religion and my faith”.

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