Yasmina Khadra ... aka Mohamed Moulessehoul, Writer

What to keep of all these reels of film, what to throw away? If we could only take 1 memory on our journey, what would we choose? At the expense of what or whom? And most importantly, how to choose among all these shadows, all these spectres, all these titans? Who are we, when all is said and done? Are we the people we once were or the people we wish we had been? Are we the pain we caused others or the pain we suffered at the hands of others? The encounters we missed or those fortuitous meetings that changed the course of our destiny? Our time behind the scenes that saved us form our vanity or the moment in the limelight that warmed us? We are all of these things, we are the whole life that we have lived, its highs and lows, its fortunes and its hardships, we are the sum of the ghosts that haunt us… we are a host of characters in one, so convincing in every role we played that it is impossible for us to tell who we really were, who we have become, who we will be.
― Yasmina Khadra, What the Day Owes the Night

Tonight, I had the pleasure of attending a talk given by Yasmina Khadra ... aka Mohamed Moulessehoul.

Mohamed was an officer in the Algerian army, a man who was forced to adopt a woman’s pseudonym to avoid military censorship as the writer he was. Despite the publication of many successful novels in Algeria, Moulessehoul only revealed his true identity in 2001 after leaving the army and going into exile and seclusion in France.

It was fascinating, despite being in French and Italian.  Sometimes that just leaves a person free to watch and examine body language and location, and the people around them.

It was held in Genova’s exquisite Palazzo Ducale ...

It was an enjoyable interlude.

And yes ... I regret not taking my camera but I was running late. 

Colin Monteath, Photographer, Writer, Explorer

Chance encounters change lives. Close friends, passing aquaintances and even characters who emerge from old books often leave footprints across my heart. By opening mysterious doors, the influence of others has inadvertently altered the direction of my life.
Colin Monteath,  from Under A Sheltering Sky

Orhan Pamuk, Nobel Lecture, 2006

Some extracts: A writer is someone who spends years patiently trying to discover the second being inside him, and the world that makes him who he is: when I speak of writing, what comes first to my mind is not a novel, a poem, or literary tradition, it is a person who shuts himself up in a room, sits down at a table, and alone, turns inward; amid its shadows, he builds a new world with words.

He can write poems, plays, or novels, as I do. All these differences come after the crucial task of sitting down at the table and patiently turning inwards. To write is to turn this inward gaze into words, to study the world into which that person passes when he retires into himself, and to do so with patience, obstinacy, and joy.

As I sit at my table, for days, months, years, slowly adding new words to the empty page, I feel as if I am creating a new world, as if I am bringing into being that other person inside me, in the same way someone might build a bridge or a dome, stone by stone.

The stones we writers use are words. As we hold them in our hands, sensing the ways in which each of them is connected to the others, looking at them sometimes from afar, sometimes almost caressing them with our fingers and the tips of our pens, weighing them, moving them around, year in and year out, patiently and hopefully, we create new worlds.

The writer's secret is not inspiration – for it is never clear where it comes from – it is his stubbornness, his patience. That lovely Turkish saying – to dig a well with a needle – seems to me to have been said with writers in mind.

...I believe literature to be the most valuable hoard that humanity has gathered in its quest to understand itself. Societies, tribes, and peoples grow more intelligent, richer, and more advanced as they pay attention to the troubled words of their authors, and, as we all know, the burning of books and the denigration of writers are both signals that dark and improvident times are upon us.

But literature is never just a national concern. The writer who shuts himself up in a room and first goes on a journey inside himself will, over the years, discover literature's eternal rule: he must have the artistry to tell his own stories as if they are other people's stories, and to tell other people's stories as if they were his own, for this is what literature is. But we must first travel through other peoples' stories and books.