On the occasion of the publication of Warqa Bilal in Fez, the Moroccan poet and critic Dr. Ismail Alali recently published a book entitled “Far from the angels… Close to the rhythm of Jibril”, which is the first individual book of the Moroccan poet.
This publication comes after Alali’s participation in four collective collections, which are “Another Heaven Shades Us”, the “Ailan Abdullah Al-Kurdi” collection, issued by the publications of the Abdul Aziz Saud Al-Babtain Award Foundation, and the Divan “Abdul Salam Buhajar in the eyes of the poets”, which is dedicated to the soul of the aesthetic poet Olaya Abdel Salam Bouhajer, and the book “The icons are extinguished but they do not die”, dedicated to the spirit of the national leader Abd al-Rahman al-Youssoufi; As well as her valuable critical book, “Aesthetic Propagation in Contemporary Moroccan Poetic Discourse”.
The poetic diván consists of two chapters: the first is entitled “From the Hebron Balcony”, and included fourteen poems distributed between the two styles of vertical and activating poetry, (Irfan / Riman / Thanan Andalusi / Shahd / Nuba Al Wasl wa Al-Hijran / Samsamah Al-Rouh / Taqtuqa Jabaliya / Oujda guides the poem / Bent Granada or North of Love / Fayud Maknasa / Entry to Fez at night / Timings of Love / Love Letter to Khalil Al Mariziq).
The second chapter had the title of the Diwan “Far from the Angels… Close to the Rhythm of Gabriel”, and included among its covers fifteen poems whose titles were the following: “Ismaeli Path / Praise of Chaos… Lamentation of Nothingness / On the Path to the supreme poem / Hymn of beauty / Sonata of acceptance” / Of the travels of Moses the Arab / Love / H. Nostalgia Jim Madness / Sika Anger / Of the pains of Sisyphus the Maghreb / Aylan’s commandments / The weddings of the separation / Drums of Absence / The last game of the troubadour / The voice of Abdel Salam Bouhajar.
The cover of the aforementioned divan was decorated with a painting by the Moroccan artist Noureddine Rahma, and was given to him by Mukhlis al-Saghir, writer and director of the House of Poetry of Tetouan; In his presentation of this distinguished Moroccan poetic experience, he said: “Thus it was clear to me, from the beginning, that Ismail Alali has a poetic family tree whose roots extend in the lands of poetry, and its branches fly in the skies of poetry. and its heights, far from the angels… close to the rhythm of Gabriel.”
The writer himself believes that the poet Alali in this book achieves a rich poetic accumulation by inscribing his name in a contemporary Moroccan poetic doctrine that triumphs over the Khalili rhythm as an input to update our poem, and a way to resume poetics. saying again; Just as his poetic experience intersects in its “Nashidi” dimension with the sheikhs of the contemporary tafe’ilis, such as Idris Al-Melyani and Muhammad Ali Al-Rabawi and other prominent figures of “poetic listening” in Morocco.
Al-Saghir adds that unlike many of the new vertical voices of our poetic Maghreb, Ismail Alali is not up to the new wave of verticals from the East, but he sculpts his poem in the manner of Moroccans and Andalusians singing, singing and reciting alike; Poetry is, at the beginning and at the end, a culture, an identity and affiliation.
The same source evoked Moroccan rhythmic natures and Andalusian poetic craftsmanship in more than one poem, one syllable, one painting and one introduction, especially in the poem “Thanan Andalusi”, through its dew spells, its melodious language and its sweet rumble. The same is found in the poem “Nuba Al-Wasl and Al-Hijran”.
The poet also further expresses this Moroccan musical fondness in the loyal poem “Taqtoqa Jabaliya”. The musical lexicon dominates in this book from the title “rhythm”, then the hymn, then the chant, the melody, the songs, mawal, melody, sonata, drums, mawil, “eduzin” and “humming”, bell, instrumentalists, rabab, lute , violin, shaji, sika, kurdish, nahound, chord, chord, chorus, lock and tushiya, “Zarn” Taq Taq, when he evokes the rhythms of mountain music in the northern reaches of Morocco.
This rooting of Moroccan poetry full of descriptions, rules and customs, in terms of linguistic and rhythmic formation, is accompanied, according to Ismail Allali, by a semantic and aesthetic, cognitive and mystical rooting, through a mystical reference that only speaks to symbol people and poetry, and addresses consciousness in man, and the soul in bodies, coming soon. What this poet calls the researcher an aesthetic increase in his research career, based on what founded the intellectual project of Taha Abdel Rahman, and the kindness of him. Sufi sayings and concepts are present here, beginning with the title of the first poem “Irfan”, going through the meanings of solution, union, drunkenness, awakening, flood, Tawaseen and Hawamiem… The same source is mentioned.
This experience gives it its special identity, so that the voice of the poet advances in front of the reader, while behind him rises a chorus of poets and a chorus of referents whose poetic and intellectual resonance reaches us, and whose reflections reach us from far. While the poet announces the aesthetic cry of him with “Al Alali”, in reference to him.