Why does the Arab novelist seem frustrated?

Like every year, the occasion of announcing the Nobel Prize for Literature was an opportunity to ask about its continued absence and lack of attention to Arab writers, although this time the question was louder and more present because the winner is the Tanzanian Abdul Razzaq Garnah, which means that the award was close enough, but without reaching Also as usual.

This frustration with the recurring cosmic event is only an aspect of another frustration that almost pervades the writers in the Arab region, and for the same reason, I think;

What is the need for the Nobel to land here except in search of a global recognition of the place of Arabic literature on the map, and this long absence almost indicates only a single and unfortunate meaning.

Likewise, gaining recognition is an obsession with most Arab novelists, it is what tells the writer that it is present, visible and observable, without which the experience would appear incomplete and frustrating or so it might be perceived.

There are the great bookstores that once host a writer to meet or sign his publication, so that people know that there is an event that cannot be missed, and the same is the case in the literature departments of universities that if they turn to a product they give it enough light.

Publishing and multiple publications may not be enough for the writer to obtain recognition automatically, and this is a funny matter, as it is well-established in reality. Rather, it becomes clear and prominent to exacerbate the problem.

What does one need in order to gain that recognition and cross the darkness to where it can be seen?

In many parts of the world, the forms of recognition of the writer are many and increasing in quantity and quality;

There are large publishing houses, and mere contracting with them becomes an opportunity for the name to emerge or to create it out of nowhere, because the reader knows that these houses will only publish a remarkable work.

Then there are the ancient libraries that once host a writer to meet or sign his publication, so that people know that there is an event that cannot be missed, and the same is true in the literature departments of universities, which if you turn to a product that gives him enough light, and the literary press supplements and their role cannot be neglected. Known for its illumination on good books and the experiences of their owners.

Finally, there is the critic, whose readings are signs that guide and define worthy works.

But if we leave all that and look at the situation in the Arab world, we will find that it is very different. Publishing houses do not have such a huge influence with their readers that they give their writers a direct recognition once they are published, and there are no libraries that strike at the antiquity, but rather they are turning little by little towards withdrawing and being satisfied with the sale of stationery and office supplies. The attendance of literature departments is nothing outside the walls of universities and the academic community, and literary supplements are mostly lukewarm and dying, like the entirety of the paper press. As for criticism, most of it searches for light rather than the ability to give it, so we see the critic, instead of being a scout for new good works, panting behind the popular work in the hope of sharing that aura with its owner, or deliberately making noise to draw the attention of those who can place it on a jury.

In light of all this, the Arab novelist has no way to gain recognition except to obtain an award, and this explains the extent of controversy, confusion and tension that accompanies Arab awards;

It's the magic lamp to go from darkness to light.

It is true that awards are influential all over the world, but their impact in the Arab region is unhealthily exaggerated.

So what is the solution?

Certainly I am not against literary prizes, on the contrary, I am with their increase and diversity, but as long as they remain as the only means of recognition, the problem will remain the same, as the majority will always be outside its circle.

There are those who will say that he does not need confession, and that just writing makes him feel satisfied enough to continue his creative journey, and this is great, of course, but it calls for that old ready response that has not lost its relevance yet, as it is difficult to justify the desire to publish the book outside the circle of search for recognition, except Therefore, the drawers are still able to perform their role in keeping everything that does not want to be seen!