In un vicolo qualunque del Cairo, ai tempi della seconda guerra mondiale, uomini e donne vivono o per meglio dire sopravvivono, trascinandosi in esistenze meschine e monotone.
C'è chi si è rassegnato alla propria sorte, chi cerca rifugio nei vizi, nelle passioni o nella fede, ed infine c'è chi prova disperatamente ad uscirne, come Hamida, il personaggio più affascinante e complesso dell'opera. Tutti quanti però sono accomunati da un' aura di frustrazione e di sconfitta, di cui sono oscuramente consapevoli e che ne condiziona i destini.
E' un ritratto d'ambiente amaro e non certo consolatorio quello che ci propone Mahfuz, ma lo stempera con l'ironia e con un certo gusto per il grottesco, che permettono al lettore di prendere le distanze dalla vicenda. Lo stile è chiaro ed incisivo: in poche parole riesce a caratterizzare perfettamente un personaggio ed ognuno di essi viene descritto senza moralismi e senza giustificazioni. Ognuno è quel che è secondo la volontà di Dio, immutabile e inconoscibile; una sorta di fatalismo di stampo religioso che è poi il messaggio ed il filo conduttore del romanzo. Gli uomini fanno e disfano, ma il mondo continua a girare.
Da occidentale ho trovato difficile rispecchiarmi in questa visione del mondo, ma ho comunque apprezzato la scrittura ed il lavoro di approfondimento fatto sui personaggi.
Niente entusiasmi, ma una lettura di qualità.

وما سُمى الإنسان إلا لنسيه ... وما سُمى القلب إلا أنه يتقلب
من مات عشقاً فليمت كمداً ... لا خير فى عشق بلا موت
n  n
مصر = حميدة
بلد جميل غنى بثرواته وخيراته وأبناؤه يُعانى تحت الاحتلال الإنجليزى، يسلمه قوادو الأوطان فريسة فى يد الإنجليز، كان هذا هو حال حميدة التى نشأت فى زقاق فقير وحُرمت طوال حياتها من الأب والأم، لتتخبطها الأيام والسنون فتارة تعجب بحسين كرشة وتارة تقبل الخطبة من عباس الحلو وتارة تقبل الزواج من السيد سليم علوان الثرى وتتركه عندما يمرض وفى الأخير تقع فريسة للقواد فرج إبراهيم بائع الأوطان وسمسار الانتخابات فيبيع عرض حميدة للأجانب مقابل المال.
المصريين = عباس الحلو
ضحايا العشق والواجب فى كل زمان ومكان، هم من قُدر لهم أن يكونوا نور هذا الوطن وناره، عباس يحب حميدة حباً جماً ويطلبها للزواج ثم تتركه لشغفها بمال سليم علوان ثم تهرب مع فرج إبراهيم، وفى المقابل يُضحى الحلو بكل شئ ويترك الزقاق للعمل فى التل الكبير لكسب مزيد من المال يؤهله للزواج من حميدة ولضمان ألا يعوزها شئ، ليعود فى النهاية ليجد حميدة تركت الزقاق وتتمرغ فى أحضان الإنجليز فما كان منه إلا أن رماها بزجاجة فى رأسها فانهال عليه الجنود الإنجليز ضرباً حتى الموت.
طبقة المستفيدين والمنتفعين = السيد سليم علوان
n  n
الرأسماليين ومحبو المال والجاه آكلى الفريك من خير الوطن والمحاولين ركوب السلطة وما أن يفشلوا حتى ينأوا بانفسهم خوفاً على تجارتهم وأموالهم من النقصان نتيجة إنقاذ الوطن.
الدين = رضوان الحسينى
n  n
n  n
شباب مصر ممن شاركوا فى ثورة 1919 = المعلم كِرشة
من شاب مناضل يملؤه الحماس والقوة والثورة على العدوان الإنجليزى الغاشم إلى بلطجى وتاجر مخدرات وشاذ، إلا أن مسألة الشذوذ تلك تجعل الاسقاط الأقرب لشخصية المعلم كِرشة على باشاوات وخيدوية مصر بداية من محمد على مروراً بأبناؤه ممن عُرف عن أغلبهم حب الغلمان الصغار.

وما سمى الانسان الا لنسيه ..ولا القلب الا انه يتقلب :))


...." والله لاصبرن ما حييت ، اليس لكل شئ نهايه ؟! ، بلى لكل شئ -نهايه ..
ومعناها بالانجليزيه End ، وتهجيتها e n d
#الشيخ درويش بطل الزقاق الخفى
# انه نجيب محفوظ ، وكفى !" :))

Review Dedication: Many thanks to Cafe Libri Yahoo Group member Jeffrey Taylor for an engaging book discussion that aided in my research for this review.

This is the first book I've read by author Naguib Mahfouz, and I was pleasantly surprised by the pace and development of the story and characters. Mahfouz is well-known as one of Egypt's first novelists; he dared to break traditions and focus on a genre that was not encouraged by his country. The passion and love he had for the novel is depicted in every word that he wrote. Though his writing style is simple and direct, he focuses on a specific time and place that connects readers to the myraid characters he develops in Midaq Alley. He doesn't give a fully detailed view of these characters, though, but instead provides a distant surface view of the scenes letting the reader fill in some of the gaps with their own imagination.

As I was reading, I was able to get inside the characters, understand some of the connections between everyone, and the reasons behind their motivations. I appreciated this approach rather than the typical omniscient narrator that tells the reader what they need to know.

The setting says a lot about the characters. The novel takes place in a small and poor alley (Midaq Alley) in Cairo, Egypt. There are over fifteen characters that live in this alley, and Mahfouz shows how they interact, or don't interact, based on the concerns facing each family. Many of the younger characters, like Hamida and Hussain, desperately try to escape the poverty that awaits them if they continue to live in the alley. Yet, no matter what happens to each character, no matter the tragedies or triumphs, life continues in the alley.

Midaq Alley is a novel about dramatic confrontations that stage the events in the lives of the characters created without surfacing all the personal conflicts that motivate those actions. One member in Yahoo Cafe Libri compared the novel to an opera because of the presentation of larger elements of conflict without the knowledge of the interior elements that support the actions and reasonings of the characters. I agree with Jeffrey's assessment because the novel does read like an opera or a play. For example, everyone has dramatic fights with each other, like a bad daytime soap, in which there is yelling, screaming, and storm-offs between fathers and sons, husbands and wives, daughters and mothers, etc. The reader doesn't understand why there is so much dissatisfaction with the status-quo and wonders if the characters even understand their own motivations and behaviors; why leave now? Where can they run to? Love is displayed with violent confrontations that often end with tragedy while sexual deviance arises as a minor subject matter in an already jam-packed book. The main point of confusion that might hit readers is whether or not the characters' actions are justified. Are they independent activities in the larger scheme of the alley or will they connect later to another point in the novel? In this sense, Midaq Alley reflects real life scenarios in which passions control characters' actions and logic takes a back seat as readers get carried away by the moment as painted by Mahfouz.

The story and plot focuses on life in the alley. Each chapter is almost like a vignette because the emphasis skips from character to character. For instance, one chapter is dedicated to Hamida and her search for the perfect, rich husband to take her away from the poverty of the alley while the next chapter focuses on the Kirsha family and the problems between husband, wife, and son. The stories don't always intersect, so sometimes it can be a little difficult to follow the plot, especially if you get invested in one character's story and then the novel switches to another character. I found myself impatiently waiting to see how Hamida's actions would affect her and her mother's lives as well as the multitude of beaus that were chasing after her. Eventually, I learned to appreciate each character for a different reason, and I especially came to respect the preachings of the spiritual advisor to the alley, Radwan Hussainy. His speeches and advice were always powerful and important even though many in the alley refused to listen. Hussainy represented the Islamic faith, and taught me new lessons about life even if he didn't always reach the people in his flock.

One part that was truly fascinating about life in the alley is how people were not always involved or interacting with each other, yet the gossip still spread when something bad happened. For example, Hamida never interacts with the Kirsha family, but they are quite aware of the scandal she causes with her finicky choices for a husband. The way the people in the alley interacted, or didn't interact, reminded me of a small suburb where everyone knows everyone else's business even if they don't speak to the people they are gossiping about. Some of the more exciting points were unplanned and unforeseen activities that are suddenly revealed closer to the end of the novel. One of my favorite moments was when Dr. Booshy's true personality is revealed when his relationship with Zaita, the town crippler, is revealed through some of their nefarious late-night activities. It was a surprising reveal and changed the way I viewed them and others in the alley.

The list of characters is extensive. My favorites were Hamida, the alley's beauty, Radwan Hussainy, the alley's spiritual leader and advisor, and Abbas, a young barber who loves Hamida. There is no real villain to the piece, although Zaita is the closest resemblance. He cripples people so that they can become professional beggars. There are all types of characters for every type of reader, and although all the stories don't have a finality to them, the reader is left with a realistic impression that this was just another few days in the life of one alley. There are more stories that lie in wait for those who escape the despair this time around.

There are many themes and motifs in this novel, which are tied together with the message and purpose of the author. One of the main themes that stood out to me was the affect that the British had on Egypt's development, even in such an insignificant place as this one alley. Since the novel takes place during WWII, there is the constant presence of war and fighting, which permeates the activities of the inhabitants of the alley. Many of the younger characters who are trying to leave the alley use the war as a means of escape. By serving at a trading post under the British army, they are able to live in a bigger city, save up money, and hopefully escape the poverty that is their destiny. Later in the novel, readers are introduced to a pimp that shows how the British army men want dark women who can dance a certain way to act as their "friends" during their brief stay in Cairo. There is even a school for prostitutes in which they are taught to look, act, and dress a certain way. Everything the women are taught is used to impress the seemingly rich, white soldiers.

Anger and violence is a major theme in the novel. The people in the alley feel helpless to escape their fates; everything has a fatalistic quality to it. Because of the injustices and fears the characters face everyday, they lash out at those closest to them or cheat others in order to get a small respite in their doldrum lives. Radwan Hussainy has the toughest job out of all those in the alley because he must advise all that despair. His message is usually the same: Leave everything in the hands of Allah, which is translated to God in my version of the text. People don't always listen to him, and they end up causing more harm to themselves than good. The preachings and teachings of Hussainy contrasts nicely with all the destruction the selfish people of the alley cause each other. If only they listened to what God wants rather than what they want, perhaps life would be easier and less disappointing.

By the end of the novel, situations have changed for different characters. For example, one person is now disconnected with life after having a brush with death while another has found wealth through a "career" change and a new state of mind. Whether or not these changes are for the better is asked but not answered. In the end, the truth lies with the perspective of each character, which aren't clearly defined. Midaq Alley ends with a climatic event that won't leave readers disappointed.

Since the book is written in a straight-forward manner, readers of any age would enjoy it. However, if they are unfamiliar with Egypt and the Islam religion, certain parts might seem confusing. The characters and the setting really make this book stand out, and although I was saddened by the ending, I was not disappointed by the outcome. In fact, I guessed some of the tragedies while others were still able to surprise me. I've never read a book quite like Mahfouz's, and I look forward to reading more of his novels in the future.

إن الإنسان ليجن إذا انتزع ظفره، فكيف يكون إذا انتزعت روحه وحياته؟ ولا يدري إلا المحتضر نفسه حقيقة هذا الألم، فما نستطيع أن نلمس غير آثار الاحتضار الظاهرة، أما صداها في الروح ورجعها في الجسد، فسر الميت الذي ينطوي عليه صدره ويقبر معه في جدثه

يا عيني علي الجمال.
عندما بدأت الرواية و في منتصفها كنت أنتوي إعطائها ثلاث نجوم فحتى نصفها لم يظهر بعد الغرض من الرواية كلها.
و لكن بعد منتصفها تبدأ تيمة الرواية الحقيقية تظهر
فأبناء و بنات و رجال زقاق المدق ينزلون من عل إلي أسفل سافلين.
فهذا هو الدكتور بوشي و زيطة يتم الإمساك بهم في تهمة سرقة القبور.
و هذه هي حسناء الحارة حميدة تستسلم للعهر و ما يصحبه من حياة رغيدة كانت تتمناها دائمًا نابذة الحياة الشريفة غير عابئة بها فهي لم تفكر بهذه الطريقة ابدًا.
و هذا هو سليم علوان صاحب وكالة العطارة الثري يريد أولًا ان يتزوج مرة أخري ثم يصيبه المرض و هذه ليست نهاية سقوطة فبعد أن يشفي يصبح مجنونًا بالحسد و الحقد علي من حسدوه.
و هذا هو حسين كرشه يتم إعفاءه من خدمة الجيش الإنجليزي و يصبح بدون عمل و معه زوجه و يضطر للرجوع مرة أخري للزقاق الذي يكرهه.
و هذا هو عباس الحلو الذي رضى دائمًا بحياة زقاق المدق و لم يتنمر عليها و لم يتركها الا لكي يحصل علي حميدة كزوجة له ينتهي به الأمر مقتول علي يد بعض السكاري من الإنجليز بينما تعيش حميدة لتستكمل عهرها.
ماذا عن أم حميدة هل تردت لأسفل سافلين هي الأخري لا أعلم حقًا فقد كانت دائمًا متردية و لكن يمكن أن نعتبر رغبتها في أن تستغل مواهب حميدة الجديدة تردي لدرجة أقل من سابقتها.
و بالطبع لن ننسي أول شخصيات الرواية الذي يتردي لأسفل سافلين فهذا هو المعلم كرشه صاحب القهوة تاجر المخدرات الصغير بعد أن أدمنها ينزل لما هو أسفل فيطور ذائقة للمثلية و لا يخشي أبدًا أن يجاهر بها و هو رجل متزوج.
لعنة زقاق المدق هذه ليست مجرد حكاية لو كنت من القراء الذين يلموا دائمًا بالصورة الأكبر عندما يقرأون ستجد ان هذه تحفة أدبية أخري لنجيب محفوظ.
كدت أن أنسي شخصية من شخصياتي المفضلة في الرواية و ان لم يكن تردي لهوة الرذيلة و هو الشيخ درويش شخصية لذيذة حقًا هو يتكلم فقط بطريقته المميزة و ترتسم الإبتسامة علي وجهي مباشرة حتي الآن و أنا اكتب عنه أبتسم.
أما الشخصية التي لم تروقني علي الإطلاق فهي شخصية رضوان الحسيني و كنت أمل عندما يتحدث دائمًا لا يوجد أحد بهذا النقاء و بهذا الرضا مجرد شخصية مزيفة علي الأرجح.

I can see why it is called Mahfouz's best novel (although I personally like his 'Children of the Alley' more). It has a large number of well-developed and complex characters built with great psychological insight. The Egypt of second world war comes alive in these pages. The lower middle class characters - barbers, sweet shop owners etc which populate the book are very much like people belonging to similar classes that I have met in India.

Their psychology, their motivations which Mahfouz draws out so beautifully are universal though. The sexual desires suppressed because of social pressure, the strong desire to be move up from one's station in life, the constant consciousness of luxuries that are beyond one's reach - which also turn some people towards corrupt ways. In this novel this desire also makes the youth (among which it is felt most) take part in war as British army. Of course, once the war is over, the army lays them and their dreams out.

One feels for Hamida whose fate is similar to those who, like her, ignore their emotional needs in face of glamour of material comforts and only realise their mistake too late.

Another thing I can't help noticing, in all three Mahfouz books I have read so far, is bis refuse to take a judging tone or make social or moral criticism towards his characters, he seems to want to extend his willingness to understand to everyone - which I found sometimes pleasant and sometimes annoying.

من مات عشقا فليمت كمداً
لا خير فى عشق بلا موت

من این کتاب رو با ترجمه محمدرضا مرعشی پور خوندم نمیدونم ترجمه دیگه‌ای هم داره یا نه.
خود کتاب و داستانش رو دوست داشتم ولی خب ترجمه‌اش خیلی چنگی به دل نمی‌زد به نظر من

بورتريه مصغر عن الدنيا

“موضع الحب فى نفوسنا هو مهبط الخلق والإبداع والتجديد".

..الخروج من المأزق..الخروج من المكان..الخروج من الجلد..الخروج من البيئه ؛من الحيرة
كان محفوظ هو من ربى لدي هذا الاهتمام بفكرة الخروج منذ الصبا..فهي شاغله الدائم في معظم رواياته و
هو احد من شاركوا في تربيتي اكيد مادمت قرأت له من الرابعة عشر كل اعماله

و خروج حميدة من الزقاق كان حجتها التي داست بها على كل الرقاب..