If the “future is a desert” and earth a “train of dust,” love still can exist in this environment; it is possible for human bonding, community, love to “marry this space” of the desert (Adonis 1984)
I speak of Desert without repose
Carved by relentless winds
Torn up from its bowels
Blinded by sands
Yellow as death
Wrinkled like parchment
Face turned to the sun. ( Landscape by Chedid 1995)
The tree was real, it was still there on our return using the compass 😉
If Cartier-Bresson was alive, I’ m sure he would be envious of my photography skills
The sand makes the climbing a quite challenging task
The atmosphere was full of sand creating this cloud of darkness and at the same time protecting us from the sun!
The Bedouin ready to take the tourists for a ride with his camels. The one with the coloured hat around the mouth was quite naughty, she likes to bite people and particularly the tourists who plough into her homeland with their 4×4!! (good for her 😉 )
P.S. Bedouins are nomads. Tracing their ancestry to the first Arabs who roamed through the eastern Mediterranean and North Africa, they still maintain an active and vital cultural presence throughout the Arab world, erasing borders between nations. For Bedouin poets, the desert is not an arena of war but a place for community, not a site of alienation and exile but a location for self-fulfillment, and not devoid of nature but full of life. For the Bedouin, the phrase “the future is a desert” has positive implications.
While survival in the desert is not easy, Bedouin life in the desert is not the result of forced exile, but rather of positive choice. Their culture is spiritual, communal, and ecological. Using the terms of an ecofeminist dialogics, they are interactively “engaged” with their world, rather than in opposition to it; they give to their world as well as gain from it. They are not victims in the desert, but celebrants of pride in their home. To understand this, we need to readjust our view of home. In the West and in much of the East, home is a fixed center outside of which there are borders that should not be crossed. Literary theorist Patrick Murphy suggests that we need to “recognize the relative nature of centers and their dynamic relationship with margins” and to accept a new kind of center, one which “serves as pivot, a base on which to step and from which to move on to another center-as-pivot” (Murphy 1991, 51-52). This sort of moving center within a borderless desert is a way to understand the sense of home and community that Bedouins create in their poetry. The desert really has no margins, it is everywhere the same, and wherever the Bedouins are within the desert they are at a center which is always changing as they wander their margins.(by by Maysa Abou-Youssef Hayward)