The autobiographical story in the book “Tuhfat Al-Sahran” by Mohsen Al-Ramli

The dominant feature of al-Ramli’s narrations, in addition to a number of other considerations, is that they are personal stories that spring from memory, and take the form of a biography in terms of content, especially when the reader finds a series of stories about the writer’s childhood, adolescence and youth, and the writer’s voice is often raised through the narrator’s character. Often the ego is the narrator, but he – the writer, even though he is a knowledgeable narrator at other times, he talks about himself and what surrounds him in those narrations, and those emotional charges deposited in the memory were reflected through his narrative language, and gave it that super flexibility, tainted with humor and attitudes Humorous, it is a language of high vitality that it gained from its ability to escape and to employ the unexpected from poetic verses, mawwals, gossip and other acceptable ones. And so it tends to flow, driven by the writer’s pleasure in his narratives, before thinking about the reader’s pleasure.
Al-Ramli’s narrations tend towards documentation, especially in those stories in which he talks about the village and my childhood and adolescence, as in his collection “The Oranges of Baghdad and Chinese Love.” Such detail can be pursued in Spain, which permeated many stories in its cities and history, as he resides in Spain, and has been grafted His stories with their climates, characters, symbols and nature, which leaves something of attraction and new blood shining from within the themes, and these stories or personal stories permeate many different texts, but what dominates in them is the writer’s voice as it is clearly manifested in the words.
They are mostly autobiographical stories, and there are those stories that include a group of stories in a more general context, and we do not know what we can call them, but they are undoubtedly a group of stories in one story, such as the story of “One-eyed Television” and the story of “Oranges and Baghdad’s Razor Blades” from His first group, where the narration of each of these stories ends deep in the subconscious of the character, while the narrative line of a story that is linked to the character or placed with a certain link runs from above.

Al-Ramli’s stories tend to be a storyteller or a narrator more than they are inclined to deal with major and minor issues, cultural and social phenomena and others, and this does not mean that they are devoid of that kind of stories, but they do not tend to it. They have certain convictions about what they have written in the short story.

It is interesting because it is intense, rich, varied and strange, as if you talk about razor blades and the situations in which you are with people, where the razor blade here takes the role of the star, and the characters and situations that are placed are necessary roles and not causal, the goal of the character / man in the story of the blades as he rides the car to finish A certain treatment, in the hot weather and foul-sweat on the back of a Baghdadi summer, is how he will combine the razor blades and their attitudes with people into a story, starting to recall them from memories, once from childhood, once from the days of the army, etc. The reader discovers that he made a story about the ciphers by thinking of making a story about them inside the mind of the character, in which the voice of the first person pronoun is raised. Relying on memory and memories has its pluses and minuses as well, on the one hand, giving it an intimate character because it adheres to intimate personal facts on the part of the writer, and on the part of the local reader who wrote these tales, and they are part of a common memory, sometimes pulling him and sometimes pushing him away because they are familiar to him. But it is undoubtedly the local one in which al-Ramli’s tales have been imbued with, an explosive energy of strange worlds, for the reader born after generations and for the non-local reader, who is not connected with the writer by the bond of environment, upbringing and memory, as there is no political or social connection between them. It’s a bit like reading stories about the Dutch, American or other distant geographic location and learning new names for trees, plants, animals, and other details. It is a path followed by different artists in their art through the behavior of the local to reach the global.
In general, al-Ramli’s stories tend to be a storyteller or a narrator more than they are inclined to deal with major and minor issues, and cultural and social phenomena, among others. Those who are accustomed to or have certain convictions from what they are familiar with in the short story. It is correct to say according to what was mentioned in “Tufah Al-Sahran” that it is the writer’s life scattered in the form of tales to tell us what happened during periods of time related to the writer’s age. Other stories. This narrative color usually combines the imaginary, the miraculous, and the real, and it is not easy for anyone to adapt it and make it acceptable in the contexts of the short story. We also find there is a remarkable presence of women between the personality of the mother and the beloved and other personalities, according to the events of the event, as it is a biography of memory with its diversity, not the personality itself, without exaggerating or neglecting the description.