Bottom of the Well

The law, “a Moroccan label for the mosquitoes” is the child who chose novelist any entrusts his starring role; Dmorh does not make him lose the efficiency of acupuncture sensory and verbal, which is the law also because it is the sound engine of the world around him from significant Arab “phone” and “inspiring.” Through family links to branch tracks the tale, to sacrifice family meat novel and Sdaha, between the first and the structure of the elements of the second tie symbolic and controversial in content and values, involves the richness of seductive exploration, both rise on the assets, and seeks to declare images, as far as Ithwai secrets and mysteries; novel show awareness of individual women with, in their struggle and compatibility with others, the family system to the bonds of love and Altnabd between relatives, Moadah livelihoods, ambition and perpetuate the impact, as “jar bottom” seek to shorthand time and the characters and spaces in the vastness of Fez, shorten the family Ghita and Idris social yearning and values, and its contradictions Hello Existentialism. As the novel tale of misery and happiness, and the death of life, quickly became Modara to simulate family destiny, it is the correlation that made “Tolstoy” begins Khaldth “I Karenina” the famous passage by; “are similar to the reasons for the happiness of the happy whole families, but naughty families each has its own unhappiness unique “. Thus, woven into “the bottom of the jar,” a novel world narrative unique in the balance of novelist Abdul Latif Laabi, as the movement of the reader to the world of Tejeala distance with charting the experiences of previous written edition of the experiment prison, which marked the path of life. From here it opens a different prospect to read this diverse and prolific writer, reveals attractive eloquence in the daily dim comprehension that Tstahh vision, away from the arcane images of history.