Hussein Barghouthi

Barghouthi wrote his masterpiece, “The blue light” (2001), on his experience of living with the unorthodox, outcast and “mad” people of the streets of Seattle, frequenting at “The Grand Illusion” cinema, “The Blue Moon” bar and “The Last Exit” café, drawn to them by their names. A book that levitates the standards of any reader, in which Barghouthi describes his journey with Barry, a Sufi Whirling Dervish of Konyan origin who left his academic life and homeland to become a “homeless madman, or any other word we use to describe those we don’t understand”. The book is an exploration of Hussein's madness and spiritual paradox, and the confluence of the “mountain child and the sea”, the two opposite poles of his spirit; A book similar to the works of America's Beat Generation.[2] The book was translated to French in the title of "Lumière bleue", by Marianne Weiss in 2004.[3] An English translation by Fady Joudah was publishded by Seagull Books in 2023. [4]

He wrote his book “The third bank of the Jordan River”, published first in 1984, on his journey in Europe, describing his mental state at the time, that was edging both reality and insanity and not settling in either. Making the Jordan River an analogy, he uses it to explain that while there are two banks to the river of life, homeland and exile, there are some people destined to live in the virtual third bank; The bank of spiritualism, thought, passion, pain, love, magnitude, madness and poetry. A book that takes you on a trip, and might bring you to tears, and make you fall in love with it.[5]

Written in his last years in the same time as “The blue light”, his autobiography, “I’ll be among the almonds”, documents his final years of struggling with cancer, in which he reflects on his origins, beginnings and end, and paints an image of his beautiful village that was, and still is, subject to colonialism. The book was meant to give the magical place of “Deir al Juwani”, an area of wilderness and mountains in the village of Kobar, eternal life, and so it did. The reader can live in the place that was slowly being deformed by colonialism and civilization. “Tell her, no matter what happens… If you visit me, I’ll be among the almonds”, and so it was; Barghouthi was buried between the almond trees in the garden of his mother's house.[1] The book was later translated to French by Marianne Weiss, and published as "Je Serai Parmi les Amandiers" in 2008.[3]

“The Rosette Stone”, published in 2002, is a postmodern script that cannot be framed into one style or genre of literature. The title of the book is an analogy to the Rosetta stone that was discovered in Egypt, which was the key to deciphering the hieroglyphic language of ancient Egypt and uncover the truth of its three thousand year history. His best and most difficult work, in his own belief, where every other work he wrote was aimed to remove the barriers between him and his reader, allowing the reader to understand his script, vision and total personality.[6]

Considered a cornerstone in cognition and psychology, in the form of an extended essay, the book serves as a therapist to the reader. It analyzes the history of psychological conflict. The book explains how every individual creates his own "main reason" of existing, and how the time and place in which a person is born influences the creation of this reason. He introduces is it saying "The main reason is no more than a complicated reflection of the dominant social relations in a certain phase of time".[7] The book focuses on the history of psychological struggle, rather than on the history of the figures and characters it discusses. "There is no absolute main reason for every time and place, and so the main reason develops and changes as history develops and changes", he explains. "Each individual can change, and choose with freedom that is proportional to his time, his own main reason. This depends on the opportunities given by the historical period in which he lives",[7] and following that concept, the book follows the main reason through every era.[8]

Starting from Brahmanism, the book goes on to include the development and diversification of psychological conflict through time and place, including that of many poets like Mudhafar Al-Nawab and Al-Mutanabbi, and various fictional characters of literature from writers such as Shakespeare and Dostoevsky. It tracks the origins of conflict in human life, cognition and society, and is considered the key to understanding one’s own difficulties, and understanding the rest of his books.[8]

A postmortem accumulation of five writings of various subjects: The beginning of existence, a philosophical analysis of the First Intifada, the magnitude of experience, the paradox caused in Palestine by capitalism and an analysis of the concepts of time and place; A book that brings together many cultures, visions and times.[9]

A script that includes 29 quotes from books, poetry, songs and writings of divergent figures such as Mahmoud Darwish, Al-Mutanabbi, Friedrich Nietzsche, Thomas Hardy, Fyodor Dostoevsky and Maxim Gorky, and lyrics from songs such as Hotel California. Written in 1st person narrative, the script ends with a poem by Barghouthi himself. The script was first published in Ugarit magazine in 1996, of which Barghouthi was chief editor. The magazine was named after the ancient city of Ugarit.[10][9]

Written in Ramallah, the script is a reflection of Barghouthi's experience of the First Intifada years later. He witnessed the beginning of the Intifada and lived in Ramallah for the most part of it, before leaving to study in Seattle. The script, however, is far from political, and is a contemplation on the period he spent in Palestine during that extraordinary time. An eccentric script in which Barghouthi shows his style of free, unbound writing.[9]

Starting with a trip to Jibya, a woodland between the villages of Kobar and Umm Safa, Barghouthi loses his way and enters a state of disorientation - also mentioned in his other books - on his way back to the city. After confusing Kobar with Umm Safa, it seems to him that the place he had known for years was once again new to him. Building on this incident, he explores the 'reality' of things in rather than the 'name' of things, and explains the state of 'losing realization' that he intermittently enters and talks about in his other books. "I see something I don't know, and I know something I don't see" he says, describing the incident. "Where is Umm Safa? where is everything? the answer is clear: Umm Safa is everywhere, sometimes on my right, sometimes on my left, sometimes in the north-east and so on; to determine the exact place of where Umm Safa is, I must determine the exact place in which I am. And if I lose the orientation of the place I'm in, I lose the orientation of where it is as well, and vice versa." he says, explaining the relationship between the I and the place. "I usually say this my house, and this is my way. This 'my' in 'my house' and 'my way' is an indication of the desire to own." he says. "Take the 'my' out of 'my realization' and it gets lost, like the way home, and I find myself in a strange state; there is 'a' realization, but it's not mine" he also says, and continues to follow through this philosophy to the furthest extent. A philosophy similar to that of Lao-Tzu, which he also mentions in this script.[11]

This piece, written first in Kobar, focuses on “the extinct place” which is any place that loses its history and ‘depth’. Barghouthi starts with an analysis of the architectural inconsistency of Ramallah city. The transformation of architecture from normal houses and rural life in the 1960s in Palestine, to new and bigger buildings, towers and villas that all “seem to say that the world is split only into ‘what is me, and what is not me’”. This development caused what is called “the phenomenon of the extinct place”, which is the same place in which a person feels belonging, after urbanization or change. The diverse architecture caused the city to have a ‘split personality’, one being its surface and the other its depth.

Barghouthi explores the Palestinian subconscious, and how this domination of “the extinct place” imprinted somewhat of a ‘fall’ in the Palestinian mind, in which there is an original sin; the Nakba. And the ‘return’ to that lost depth of the place, similar to the ascension to heaven, is the ray of hope that battles the extinct place; this concept, says Barghouthi, defines the national and humanitarian Palestinian self.

The city of Ramallah, he explains, is a constant battle between the historical and the extinct place, due to the external entry of colonialism and the internal entry of capitalism and private ownership, “a plot similar to a plot of a realistic novel of a temporal and spatial progression” with a tangible script. Perceiving ‘place’ in time as a ‘past place’ that goes through the present and into the future created a dominance of memory and past over Palestine, which, in turn, annihilated the feeling of belonging to ‘the extinct place’ (Ramallah) and a feeling of exile from a ‘past place’.[9]

Barghouthi explores and compares concepts from various religions and mythology, including the Akhenaten religion, The Book of Genesis, Enlil of the Sumerian religion, Brahmanism, African mythology, Plato's Symposium, Persian, Greek and Mexican mythology.[9]

The title, which is also the final conclusion of the script, can be explained in the last page:

"That which was 'before the beginning' haunts it like an invisible ghost, and it tries to bury it, or deny it, but fails. The beginning's attempt to hide what is before it is the true beginning, precisely like the attempt of 'the end' to hide what is after it, in order to seal that same beginning, is the true 'ending'. i.e the beginning is in need, right from the start, of a certain illusion of it being 'the beginning'; The beginning's illusion of itself is the start of the beginning, and this illusion takes a spatial form. It is, necessarily, a spatial illusion of 'place'."[9]