Publication of Atmane Bissani’s new book

Professor Atmane Bissani’s new book, titled Writing and forever. Essays on mysticism in literature, published in the Sagacita edition (2022, Tangier) of the “Questions of literature” collection, offers an in -depth study of the mysterious tracing of literature.

The author sets the goal of deconstructing the folkloric and simplistic visions associated with mystics. This is a particular question in revealing the contribution of mysticism to literature. Poet and writer Bernoussi Saltani is not wrong in proving that Atmane Bissani “offers us a work that can focus the spirits thirsting for humanism and human brotherhood to an exit from orthodox, myopic, dogmatic religion. , sectarian and suprematist (11).

For Atmane Bissani, 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 to us, as a mysterious language of love that has traveled through centuries, nations and beliefs.

Above all it is a Nietzschean mysticism that cannot be a religious dimension as described in the works subject to the author’s analysis. at the meeting (2009); works by Abdelwahab Meddeb, Juan Goytisolo, Driss Chraïbi, Abdelkébir Khatibi and Zakia Zouanat.

Through this study, the author operates in a dialogue perspective with a Renaissance heritage in the East and West with an interdisciplinary approach; he knew that theinterdisciplinarity can reveal the essence of a “thing”. In this view, Atmane Bissani rightly reminds us that there is no “knowledge that can be fully interpreted without going through the experience of CONNECTon relationshipfrom Contact “. (21) Such a vision would liberate the Sufi and mystical imagination from religious orthodoxy, opening it up to various realms. Mystics chose nomadism to capture self-superiority, that is, egocentrism. to make the tradition of “Xvarnah », or divine light. The authors chosen by Atmane Bissani know that folklorism and religiosity are incompatible with the quiddity of Sufism.

Throughout the pages, the author reveals that there is one of these authors to like secular literature, where each language speaks to the other and where each culture does not rebuke the other because there is no pure and original culture. In other words, each culture is inhabited by other cultures. the Awliya Allah seeking divine light through human presence. Reflecting on the image of the woman as an example gives them theophanic vision.

It is in this perspective that Abdelwahab Meddeb attempts to examine his work, Phantasia -as the presence of matter without its object (Al Kindi)-by going to the epiphanic number, 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” (30).
Barzakh by Juan Goytisolo 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 (48).

By creating a confusion between imagination and reality, Goytisolo introduces his character into a world of despair, allowing him to meet his deceased friend and that “makes him discover the mazes ahead” ( 51). as Phantasiathe dream allows the narrator to Barzakh to live 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. In this sense Atmane Bissani attempts to recall Islam from its origins through an abyssal analysis of the work of Driss Chraïbi, The Man in the Book.
For the author of [l’] Writing and forever, Chraïbi’s novel is animated to appeal to the mystical. He rightly recalls that “Islam is a mysterious thought tradition” (69). This means that Islam as a spiritual tradition may face disaster. To use Hölderlin’s formula, “If risk increases, that which survives grows”. According to Meddeb, Sufism embodies the salvation of Islam.

By practicing a historical character, that is the prophet of Islam, Mohammed, Chraïbi rehabilitate the spiritual dimension of Islam and the tradition of Xvarnah, a tradition nurtured forever. Seeing this light, the Prophet of Islam aimed to enlighten his people and all mankind. Note that he lived the experience of mysticism before and during Revelation. The purpose is to reveal the experience of interiority that finds the essence of Islam. As such, Atmane Bissani’s work is interesting because it demonstrates the importance of experiencing interiority in a world that has become increasingly barbaric. For him, mysticism can rehabilitate the human human dimension.
For this author, 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 connection and separation vis-à-vis one another, speeds up the path between love and friendship.

Bissani chose to analyze “Ghannou’s Last Love”, a short story that takes place in Hawwā’s Garden (Marsam, 2004). She began her meditation with a reminder that couldn’t be more interesting. It is about claiming the woman is not always in a material order because the latter is a deeply mystical being.

The story of Ghannou, a woman who loves God, chooses solitude and silence after the death of her husband. So he goes back to his only Arabic, the fig tree, which consists of an epiphanic person who allows nature to celebrate its unconditional relationship with God. This woman is extremely inhabited by mysterious surveillance and she lives under the protection of the experience of futility.

God’s friend, Ghannou, sacrificed his body to free himself from his gravity. Knowing that his words may be misinterpreted, Atmane Bissani explains in a footnote that Ghannou’s wish is in line with Sufi tradition; it is not self-hatred, nor of humanity as claimed by terrorists inhabited by hatred of humanity, but a superiority of self to achieve destruction. Mad for God, Ghannou establishes an erotic relationship with his tree which he holds as a manifestation of God, explaining his happiness as a condition of the overall change in his relationship with the world. In other words, Ghannou is a woman who gives herself to God and suggests – according to Atmane Bissani – with her ability to love and her love that women’s claims cannot be reduced to material claims. the Shath, as an overflow, allowing the feminine subject to be left and to bring within itself into divine light. With clarity and affection, the writer Bernoussi Saltani insists in his introduction on the great role that mysticism can play in the suffering of a world that has become increasingly complex. The author of “Homère à BabFtouh de Fès” (Sagacita, 2018) salutes this beautiful and relevant introduction to the business of Atmane Bissani, a business humanist who is trying to (again) activate here in us the wisdom of the great Sufi masters.

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 interspersed with an amorous register, in which God is called “Beloved”, “Worshiped”, and so on. It is basically a tradition of gratitude and love. Ibn Arabi states this view: “Love is my religion and my faith”.

By Abdelouahed Hajji

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