The meeting with the poet Muhammad Al-Majid was one of the virtues of coincidence. The architect (functionally) is passionate about demolishing and rebuilding, consciously and competently, not in vain and going too far. He works on his text, as if he were designing a building. To astonish the recipient, sharpen his mind, delight his taste, enrich the vocabulary so that it intoxicates the meanings, and violate the limits of form through experimentation and implication. Let the text move with the power of suggestion and magical inspiration calling for contemplation, and perhaps in this dialogue, what confirms the intersection of art with madness and rebellion:

• What is the story of your questioning of poets from Imru’ al-Qais to Muhammad al-Thubaiti?

•• It is the troubling question of modernity, as modernity has gone too far towards heritage, as Adonis, one of the poles of modernity, admits. I consider it courageous on his part, as they were not influenced by Abu Nawas and Abu Tammam, who were present in the second century AH, as much as they were influenced by (Baudelaire), for example. There is more than centuries of critical vision, cut off and sprouting from its roots. For more than eight centuries, we have been more poetically advanced than Europe. Perhaps Abu Al-Ala Al-Maarri is more modern than Cioran, whom Adonis quoted as saying, “If I had known about Abu Al-Ala’s experience and its richness; When I wrote a single letter. This is one side of modernity, and the other side is where modernity digs; It is the deep, ancient Arab heritage, from Imru’ al-Qais beginning, passing through all the humanist poets, from the vertical to the ta’feel to the prose, to the white language, to the song to the razzaz to the rhymes, the story, popular art, folklore, and the art of sound. Adonis admits that modernity has turned its back. For all this wealth, she finally realized the size and impact of the transgression, so she returned to making amends. It seems that the Arabs neglected many fields, and fortunately, the poetic field is still fresh and tempting for any researcher.

• How do you feel when you intersect and interact with ancestors, establishing an experience that has its own uniqueness?

•• Positive anger, which cannot be read outside this framework, and as much as there is criticism in it, as much as there is optimism and interaction with this heritage that deserves to be re-read and linked to linguistically, otherwise I would not have stood in the face of a great mob like Imru’ al-Qais and directed such things at him. Questions: I aspire to start a fire of some kind that will create smoke or a beautiful oceanic mist.

• When did you emerge from the first well, and what did you emerge with?

•• Perhaps early reading, since primary school, and my attachment to the school library, and borrowing stories to re-read at night; With some astonishment and contemplation, in middle school I was captivated by the subject of chants and archives, and my thinking about and writing poetry was nothing but love, and without a doubt there are springs, perhaps I remember some of it and perhaps we forget, and as it was said (a lion is a group of digested sheep), our generation, at the beginning of the third decade, We were meeting, and the vertical poetic form was the starting point by virtue of the environment, the incubator. In the eighties, the first attempts emerged, and we did not pay attention to the ta’feela despite the presence of Mahmoud Darwish and Adonis. The beginning was classic.

• Why, as a graduate of the University of Petroleum and Minerals, which is closest to the scientific subjects, did you become attached to this theoretical art?

•• Believe me, I don’t know. Indeed, my academic orientation is scientific. However, my attachment to Abu Firas Al-Hamdani, Al-Sayyab, and Nazik Al-Mala’ika appeared, and I began collecting poetry collections, and I recorded an interview with Al-Jawahiri that was broadcast by the Bahrain TV station, and I was astonished as I followed the giant poet Muhammad Mahdi Al-Jawahiri, and until then When I entered the university, I was a reader and listener to poetry, and perhaps until I graduated from the university, but there were interested young men who used to meet in a weekly meeting, and years before I knew them, they invited me, and I came to listen, and they tempted me to express my point of view, and from that time the experiment began.

• Does this mean that you came to poetry without prior planning?

•• It is indeed like that. I integrated into the group of friends, and got involved in poetry, but since I started I took the idea and approach seriously, and the first experience was writing a column, and in light of the praise of my friends, I quickly left it for activism; Then to prose.

• Have you been influenced by your friend group?

•• Yes, very much, because they were very aware of creativity and pushed me towards experimentation, including the poet Shafiq Al-Abadi, the poet Abdul Karim Zaree, the researcher Abdul Khaleq Al-Janabi, the director of the Qatif Genetic Project, Mohsen Al-Shabraka, Habib Mahmoud, Jamal Rasul, Hassan Al-Mustafa, and Zaki Al-Sadir. And Zaki Al-Yahya, and with time the young people prepared for reading experiments, and Mohsen Al-Shabarka was studying with the great critic Dr. Abdullah Al-Ghadhami, so he began to provide our friend with pictures from the collection of the unique poet (Muhammad Al-Thubaiti), specifically the terrain, and it was in the handwriting of (Sayyid Al-Baid), and since we read Al-Thubaiti, we have felt poetry. With great shock, and I liken that pivotal moment (to a traffic accident) as if we were driving a car at a crazy speed and collided with a solid, high wall, then Abu Yusuf ignited a fire in us with his terrain, and some traditionalists considered our fascination with him a departure and rebellion against the religious norm, but we, who are in love with the fire of poetry, went with Al-Thubaiti without hesitation, and in parallel, the experience of Arab modernity was in our hands due to the breakthroughs in the provision of books, and the proximity to Manama.

• What surprised you by Al-Thabiti?

•• In the language, certainly, and his ability to formulate his own dictionary or lexicon, in which no one else was like him, and we used to sing it every Friday night, and Mohsen Al-Shabraka used to deconstruct the texts of the terrain with amazing skill, so we enjoyed the text, and the crazy critical reading, which took us to wider expanses and spaces, so we imbibed Al-Thubaiti was led by Mohsen Al-Shabarka, who, if he had continued to accumulate his experience, would have been one of the most prominent critics today. Then we discussed the experience of Mahmoud Darwish, Al-Sayyab and Samih Al-Qasim, and from Qatar Radio, we got to know the Syrian poet Ali Al-Jundi and the Iraqi Adnan Al-Sayegh.

• Did you switch to active and then prose? Is it a normal process for your experience?

•• Exactly, and I will not hide from you that the entire debate of modernity is a deep philosophical debate, and does not revolve around formalism and pattern. Language can only be a living organism, and there is no escape for the organism to develop, with the development of life and living things, and to be freed from (the prison of the column) to active freedom of expression. Then prose, high architecture as in Mahmoud Darwish, wide space free of restrictions, and the prose poem is very high poetry.

• What does the poetic transformation mean to you philosophically?

•• It means that language, with all its energy, cannot be captured at all and standardized. Language is an unrestrained entity that cannot be captured or confined to any form. Freedom is an aesthetic condition for language, and form is linked to taste, and taste is relative, and there is one form and another form. It has the right to They juxtapose and dialogue, for the sake of a positive dialectic capable of building a paradoxical language, so the gene of modernity remains present in every form, and the term “new column” may go in this direction, and there is no shame in the language keeping pace with its era, with courage, boldness and aesthetics, in light of the digital age and modern technology.

• Have you not been subjected to vengeance, since you are the son of elegies that are so rich in their lyricism? •• It prepared me for the environment, and as children we used to circle around the pulpits and listen to the most creative classical elegies, and it seemed that Al-Jawahri was the last of them, and before him were Mr. Jaafar Al-Hilli, Mr. Haider Al-Hilli, Mr. Al-Haboubi, and Al-Kawaz. So imagine in front of these poems that are read with intonation and musical phases, so that the receptacle inhabits it. All this overflow of experience appears later, and there is already a negative view of the subject and prose; As it is outside the institutional and populist framework rooted in incubating societal traditions and customs, and perhaps formally some people will expel you from their religious system because of your rebellion in language against language.

• Where was the harshest reaction to your experience?

•• It happened only once, during a very classic evening, so I entered the evening and delivered a recent text, and the person in charge of the event complained about me, and perhaps thought about removing me from the stage, and in general, there are no harsh reactions that represent an obstacle that prevents you from continuing.

• How do you differentiate between poetry and poetry?

•• Nazim is like someone entering a tunnel from which it is difficult to exit, and from which it is difficult to return. Poetry is a vision, and creativity and uniqueness require a vision, and the traditionalist may have had the potential to develop his experience, but due to an error in judgment he begins as a nazim and continues to lose the vision and insight of criticism of himself and his needs to move forward, so he He is standing and thinks he is moving, and the problem is not with the rhythm, because he did not begin to end, because he is outside poetry. The problem is with the style. The one who writes the vertical poem, and calls it a new column, has not abandoned the typical vertical poem, and then imitates, imitates, and prepares it as a new style while he is immersed in his traditionalism. Believing in a new column is a poetic and artistic setback.

• What did social networking sites add to the poem?

•• It has flattened the issue to a great extent, and we recall the saying: The greater the number of audiences, the lower the level of the text. The wide spread of poetic writing raises a question: Is it in the interest of poetry or against it?

• Is there a positive effect due to the large number of poets appearing on special occasions and occasions?

•• There is a wisdom that came from the science of theology and theology, which says: No one cares about what is abundant in existence, for of course abundance is habitual, and habituality is boredom and permanent laziness, so appearing with caution and calculation, for whoever loses isolation loses his text, and frequent presence is a scandal to the text, and to its writer, and leads to stagnation. He often appears to fall into an institutional trap governed by society, cultural events, and festivals, so his poetic values ​​turn into mechanical and institutional values, not individual ones.

• What did your studies at the University of Petroleum and Minerals add to the text of Muhammad Al-Majid?

•• Fortunately for me, I studied (architecture) and in my master’s degree I had architecture, and architecture is modernity, art history, and it is the science of aesthetics, and all areas of architectural beauty are transmitted to the text through invisible awareness, and there is a theory that says “richness is in simplicity,” and in architecture there is emptiness and fullness, so the text If it does not contain fullness and emptiness, you will not feel it, as harmony, homogeneity, and intertextuality exist in architecture, just like the poetic text.

• Have you lacked the experience of an objective critic?

•• Yes, we miss the independent critic, and we are plagued by the ideological critic, in which there are modern critics who are fanatical towards the prose poem, without doing justice to the ta’feela, and the vertical, and the poet with insight does not pay attention.

• How do you see the attendance of the poetry audience?

•• Poetry is certainly still a need, and whenever we feel dispensed with it, we must insist on its continuation, and the work of the Ministry of Poetic Culture confirms this trend, as poetry comforts and alleviates human tragedies.

• Do you intersect with Al-Jawahiri and Muhammad Al-Ali in your speech?

•• Do not interrupt me with Al-Jawahiri and Muhammad Al-Ali, as my experience does not resemble their experiences, and does not come close to their world.

• Is it possible to present the text with a story of bribery to the recipient?

•• I do not need to bribe the recipient by explaining the poem, but there are those who enjoy hearing the motives, motivators, and heartache of the text.

• Which poetic style has a future? •• Style is a form into which language flows, and poetics is a condition for poetry, and requires a philosophical vision whose meaning penetrates consciousness and stimulates interpretation.