Youssef Hatini: The Emirati narrative is sophisticated and full of diversity and richness

It is not easy for a creator to combine commentary and criticism, short stories and poetry, but the critic and writer Dr. Youssef Hatini was able to carry all these titles on his shoulders, based on the fact that nothing prevented this issue for those who had his tools.
In his interview with Al-Bayan, Hatini, who was born in Damascus in 1963, and is a lecturer in the Department of Arabic Language and Literature – United Arab Emirates University, confirms that creativity creates something eu -similar to the previous example, considering that the model will be simulated. without going beyond being a statement outside the framework of creativity.

Hatini, who won third place in the Sharjah Prize for Contemporary Arabic Poetry, explores the reality of the narrative in the Emirates, stressing that it is always changing, benefiting from flux and the assimilation of schools of literary thought.

You wrote the short story, then the novel, studies, and criticism.

Creativity in many fields of literature and art is not something new to culture. For me personally, I started out as a poet and then as a storyteller, before I entered the field of literary criticism thanks to my academic training, and after that I wrote maqamat and wrote novels, and I hope I have succeeded in part of that. I find nothing that prevents a creator from diversifying the fields of writing in any literary genre if he has the tools and keys.

Have you published two collections of short stories, and similar collections of very short poems, as well as two critical books on the short story?
Yes, I presented two collections of short stories, “Dhamma” and “Camel of Bearings,” and two collections of very short poems, “A Violet in a Cloud” and “A Star in the Galilean Sky.” critical books on the short story, and another on criticism. The very short poem. I need to clarify two things here:
The first thing is that literary genres are close to each other, and no genre is better than another. The second thing is that short literature is not a product of the age of speed.

Criticism is not okay
I wrote about short stories and novels in the Emirates, and about the Arabic novel in general. How do you view the current reality of Arab narrative in general, and the reality of stories and novels in the Emirates in particular?
The Arabic novel and the short story are fine, the Arabic narration is generally fine, but I don’t tend to divide creativity into geographical frames, so it’s better to say: The Arabic narration is fine because there are creative people who can. to develop it and carry the flag of innovation in it, regardless of their relationship with the country. There is a lot of foam, but the creative few are able to pass it on to future generations to continue on the path of creativity. What is not good is Arab criticism.

Regarding the second part of your question, the reality of the narration in the Emirates is constantly changing, despite the narrow time period in which this narration took place. The Emiratis benefited from it and took in the entrance of literary schools of thought in that limited time, and their writings became diverse and different, and they are likely to develop the residence

How do you see the support that the UAE gives to creators and writers? What is your assessment of the many awards that the state offers in different fields?
In all fairness, I say: The support that the Emirates gives to creative people is real, effective and continuous There are publishing houses that are interested in creative work, and workshops which trains creative people to take steps forward, and there are several awards given by cultural centers in the Emirates to creative people, and other incentives. It is worth noting that these awards, especially the biggest ones, encourage creators and open the way to fame for them. Perhaps many Arab countries should follow the example of the UAE in this area.