Randa Abdel-Fattah
| Randa Abdel-Fattah | |
|---|---|
| Umumiy maʼlumotlar | |
| Tavalludi |
6-iyun 1979 va 1980 Sidney |
| Qardosh loyihalar | |
Randa Abdel-Fattah (1979-yil 6-iyun) — falastinlik va misrlik ajdodlarga ega boʻlgan avstraliyalik musulmon yozuvchi.
Iqtiboslar
[tahrirlash]Musulmon ayol uchun hijob kuch-qudrat manbaidir. Bu jinsga bogʻliq boʻlmagan Yaratuvchining amriga muvofiq kamtarona kiyinish, oʻzidan faxrlanish va oʻz eʼtiqodini ochiqchasiga, mustaqil hamda jasoratli ishonch bilan qabul qilish toʻgʻrisidagi shaxsiy qarordir. | |
To the Muslim woman, the hijab provides a sense of empowerment. It is a personal decision to dress modestly according to the command of a genderless Creator; to assert pride in self, and embrace one's faith openly, with independence and courageous conviction[1]. |
Oʻsmirlik dunyosini oʻrganish meni qiziqtirgan yagona narsa edi, chunki hayotingizda hissiyotlarni bunchalik kuchli his qiladigan boshqa davr yoʻq. Sevgi, nafrat, rashk, sadoqat: oʻsmir paytimda bu tuygʻularning qudratini va ayni paytda shaxsiyat masalalarini hal qilish qanchalik dahshatli va hayajonli boʻlganini eslayman. Inson hayotining aynan shu lahzasida yozish menga har doim juda toʻgʻri tuyulgan. | |
The world of adolescence was all I was interested in exploring, I suppose because there is no other period in your life when you feel as intensely. Love, hate, jealousy, loyalty: I remember the power of these emotions as a teenager and how navigating questions of identity at the same time was truly terrifying and exhilarating. Writing in that moment of a person’s life has always felt so right to me[2]. |
Vaqt oʻtishi bilan ovozim kamroq sunʼiy va subyektiv boʻlib qoldi. Endi men qandaydir kundalik yozayotgandek his qilmayman (16 yoshimda shunday his qilardim). Men oʻz ovozimni ancha yaxshi anglayman va oʻzimni qahramonlarimdan ajratishda ancha intizomlimanman… | |
Distance in time has made my voice less contrived and subjective. I don’t feel I’m writing some kind of diary (which I kind of felt I was doing when I was 16). I am far more conscious of my voice and more disciplined in separating myself from my characters…[3] |
Badiiy adabiyotda oʻquvchi va yozuvchi oʻrtasidagi munosabat zaifliklar bilan toʻliq. Bu chindan ham ishonch va eʼtiqodni talab qiladi, chunki baʼzi kitoblar odamlarni oʻzgartirish qudratiga ega. Oʻzingizni hech qachon orqaga qaytolmaydigan, dunyoga endi avvalgidek qaray olmaydigan holatda his qilasiz. Mening kitoblarim orqali amalga oshirishni umid qilayotgan ulkan maqsadim ham aynan shu, chunki yozishimdagi asosiy ehtiros — ezilganlar, chetda qolganlar va notoʻgʻri tushunilganlar haqida hikoya qilishdir. | |
The relationship between reader and writer in fiction is steeped in vulnerabilities. It really does require trust and faith because some books have the power to transform people. You feel like you can never go back, look at the world in the same way again. And that grand ambition is what I hope to do with my books because at the heart of my writing is a passion for telling stories of the oppressed, the marginalized, and the misunderstood[4]. |
Men yozishning asosiy unsuri boʻlgan soʻzlarni sevaman. Ular bilan oʻynash mumkin boʻlgan oʻyinlar, yaxshi yozilgan parchaning ohangdorligi va lirikasi, oddiy jumlaning kuchi — bularning barchasini yoqtiraman. Shuningdek, yozishning ham erkinlik, ham cheklov boʻlgan paradoksal tabiatini ham sevaman. Siz yoʻqdan bor qilib qahramonlar va sahnalar yaratishni boshlaysiz. Ammo buni yetarlicha yaxshi bajarsangiz, bu erkinlik chegaralanadi, chunki qahramonlaringiz endi sizning ichingizda emas. Ular oʻz shaxsiyatiga ega boʻlgan, sahifadagi mustaqil obrazlarga aylanadilar va oʻzlarining asl tabiatiga mos ravishda harakat qilishlari, fikrlashlari va his qilishlari kerak boʻladi… Ammo agar siz buni yetarlicha yaxshi bajarsangiz, bu erkinlik sizni toraytiradi, chunki sizning qahramonlaringiz endi sizning ichingizda emas. | |
I love the stuff and material of writing: words. The games you can play with them. The rhythm and lyricism in a good passage of writing. The power of a simple sentence. I also love the paradoxical bind of writing as both freedom and constraint. You start creating characters and scenes out of thin air. But if you do it well enough, that freedom constricts, because your characters are no longer inside you. They become their own people, agents on the page who need to act and think and feel in ways true to who they are…[5] |
Manbalar
[tahrirlash]- ↑ „Prejudice is alive and well in the legal profession“. The Age (23-iyun 2003-yil).
- ↑ On writing young adult novels in “Randa Abdel-Fattah: Identity and emotion” in The Writer (2018 Jan 18)
- ↑ On how it has changed for her writing in a teenager’s voice in “Randa Abdel-Fattah: Identity and emotion” in The Writer (2018 Jan 18)
- ↑ On being a writer in “Both Freedom and Constraint: An Interview with Randa Abdel-Fattah” in Words Without Borders (May 2015)
- ↑ On writing as a kind of spiritual act in “Both Freedom and Constraint: An Interview with Randa Abdel-Fattah” in Words Without Borders (May 2015)