The Utmost Disclosure in Damya Malikashhe’s Expressive narrative poetry

A literary essay deals with the utomost disclosure in the Damya Malikashhe poetry.

"The Leaving of the Gulls" is a narrative poetry collection of the Arabian poetess Damya Malikshhe consists of twenty fife middle size prose poems in three thousand and five hundreds words. The follower of Damya writing realizes that she is good in penetrating the readers depth with a big disclosure and she is very good in usage of the semantic directors to guide her meanings towards a deep destination with artistic and aesthetic elements.

Expressive narrative poetry which Damya has used offers a good free area for expressive disclosure. In a short sentence, Expressive narrative prose poetry means a narrative superficial structure of a deep poetic structure. The expressive narrative prose poetry is an Arabian writers group writes the prose poetry with a superficial narrative structure and deep poetic structure so the text has been composed of feelings and emotions instead of meaning and symbols with a very close step from the abstract poetry. (Tajdeed magazine, 2016).

 Expressive narrative aids the writer to sail deeply in his poetry without alienation or ambiguity in a sweet and familiar narrative texture and this is the miracle of the expressive narrative where the innermost poetry associate with sweetness and this is in contrary to the traditional poetry where the symbolism makes an ambiguity.

 The words which are sharing the same meaning differ in the potency and some details which may be related to feelings and some of these words may bring the most powerful and maximal expression. Utmost disclosure is a writing style consists of the outermost expressive world with a very severe psychological and intellectual expression. So we have two elements in the utmost disclosure system; first the deep psychological and intellectual structure, and the second is the expressive superficial structure. Utmost disclosure can transfigure by one of them or by both.

One of the characters of the expressive narrative is the propensity towards the outermost emotional point in the speech, and this is the expressional extremism.

 It is so clear that the poetess has filled here collection sentences with huge amount of feelings which reflect the deep realization of the things and their effects on the souls. We are here not to explain the psychological or the thematic bases of the poetess because this is another research but we try to seek the stylistic elements by which the poetess reaches the state of the utmost disclosure. That is to say we try to trace the textual features of the utmost disclosure and how the utmost disclosure differs from the traditional disclosure stylistically.

The quantitative stylistic literary study which depends on the statistic and excremental research is the most effective tool to observe the stylistic elements by which the aesthetic factor or the artistry concept has transfigured. We don’t use term "critique" because in addition to the vague meaning of this word from practical view, I think that the era of criticism has gone and we are in the era of literary theory and the literary analysis.

In "A Shelter" poem we find the deep and superficial present where the poetess says:

"The ruin breaks you while you inherit your stupidity which is sealed with isolation. They have spat on your face but you still create excuses suit your sadness. You are nothing but a discarded body will be stepped on by the absence feet. You select your arrogant death from the trifles of the stagnant existence.

We may not need any word to show that the poetess has used the outermost expression in her piece like the following words: " ruin/ breaks/stupidity/spitted/ sadness/ discarded/ stepped on/ absence / feet/ death/ trifles / stagnant). This lexicon has found an expressional mood characterized by a sever disclosure and deeply uncovered the psychological state of the writer. Damya has succeeded to deliver her intellectual, psychological and emotional status by tis lexicon and we may not need the sentences to grasp these situations. This system of full expression just by the lexicon we call "the lexical expressionism" (Anwar Jaber, The Literary Expression, volume 3, 2016 (Arabic edition).

This type of the stylistic elements by which the utmost disclosure has transfigured represents the superficial elements, or in precise term it represent the system of the disclosure elements which occur in the superficial structure of the text. In addition to this superficial expressive system, we find the deep expressive system where the deep disclosure elements. We can see the psychological and emotional situation which the poetess described it at which the second person is in a ruin state which has destroyed it totally; "The ruin breaks you." He is the inheritance of stupidity, isolation and absence. He is that ignoble thing on his face the spitting has come after and the feet have stepped on. He is that dead and the stagnant existence. The poetess has succeeded to show her second person miserable stat and her psychological and emotional state.

In her poem "The Shed Stars", we find the utmost disclosure with high transfiguration where the poetess said:

"I have entered my myth with silence; chewing visions which are not mine and stealing from the language trifles what makes me glad.  I lean my back to the yellow emptiness where the bloody winds have stayed at my shadows."

We can find that the poetess has attained the deep textual intellectual and psychological elements of the disclosure in addition to the superficial textual factors which represented by the expressive meaningful elements. She has entered her myth with silence chewing visions of others with alienation where the stealing of illusionary gladness and the very empty emptiness.

This was from the deep disclosure while the superficial structural elements have occurred with extreme words in a system of expressional extremism which is a system of the very high and very severe expression, uncovering and disclosure. (Anwar Jaber, The Literary Expression, volume 4, 2017 (Arabic edition).

We find the words of this piece have two degrees from the view of extremity; the highly extreme type represented by the following; " Myth/ chewing/ steal/ trifles/ emptiness/ bloody) while the second type which is less extremely in disclosure has been represented by the following; " entered/ back/ yellow/ stay) but obviously the final color and mood of the text is the result of the most extreme type.

In this piece in addition to the previous elements, we find another type of superficial disclosure elements represented by the attributions. In fact the superficial expressive disclosure can present in three types at three levels; the words levels where we find the "lexical expressionism", the attributional level where we find "the attributive expressionism" and finally at the level of sentences, the paragraphs and the texts and this form the " tessellated expressionism". (Anwar Jaber, The Literary Expression, volume 3, 2016 (Arabic edition).

So in summer, the utmost disclosure can be at the deep or the superficial expressive systems and the last can be lexical, attributive and tessellated expressionism. I have explained some examples of all these types except the tessellated expressionism and here I will seek the tessellated expressive system in Damya’s poem titles "Reparation". Tessellation is the condition mimics the state of mosaic where the pieces are separated but the united by the final, global and higher idea or system. The writing pieces are different in the subject and the object and story but they are in deep harmony and have one affair and one message. If the tessellation has occurred at the level of sentences in one text, there will be the internal tessellation but if it is occurred in the level of texts and poems, there will be the external tessellation. ((Anwar Jaber, The Literary Expression, volume 5, 2018 (Arabic edition).

The poetess has said in her poem "Reparation":

"I have lain on the wing of the killed bird to whisper in his mouth; wake up. I have reclined many times beside a mute tale to hush the resounding whispering in the leaves’ swish. I have created an expansion for your existence and recited the children’s incantation on your soul with fur of a wild rabbit. I have bought many flowers for you and sang you in a stopping bus. I am trying with my best to follow you and cling to what you bestrew to embellish your niggardliness.  I have drowned the lines of the length and width and lines for manliness but suddenly I expunge you to give up and cry. I have packed the stones of my tomb with more leaves of daphne and camphor. I have chosen an abandoned shelf for our tale and domes has been inhabited by darkness and emptiness and bought for you a lot of lineaments to repair you last face."

In this narrative text, the narration was not for chronological and logical unites but it is a narration of poetic fragmented elements and if we remove the "I" and "You" from the sentences we will find the fragmentation very clear. 

But these separated linguistic unites have a united message, idea and affair. These illogical and imagery poetic unites have appeared in a logical narrative space producing a distinctive expressive narrative prose poetry. This feature of severe fragmentation and high imagery state is the most differentiation feature which differentiate the expressive narrative prose poetry from the traditional prose poetry and put Damya Malikshhe  in the list of the typical expressive narrative writers.