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Date: 09.02.2018

Erste Abenteuer (1982)

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Biography[ edit ] Born in Syria in , Schami is the son of a baker from a Syriac - Christian family. After attending a monastery boarding school in Lebanon , he studied chemistry, mathematics, and physics in Damascus. In , left Syria for Lebanon to evade censorship and the military draft; the following year, he moved to Germany.

There, Schami continued his studies in chemistry while working odd jobs, obtaining a doctorate in From , Schami wrote stories in Arabic. From he was the co-founder and editor of the wall news-sheet Al-Muntalak The Starting-Point in the old quarter of the city.

Schami became a full-time author in He lives in Kirchheimbolanden with his Bavarian wife and son and he holds dual citizenship. Assessment[ edit ] Syrian-born Rafik Schami rates as one of the leading figures of German migrant literature. Rather, a sympathy and tolerance for cultural diversity. They describe life in the Arab world for the benefit of the western reader, providing factual information and offering insights into aspects of daily life.

In the process, they quietly undermine all kinds of prejudice. The short novel Eine Hand voller Sterne ; A Hand Full of Stars , which contains many autobiographical elements, is a good example of this. It takes the form of the diary of a Damascene youth, following his progress through school, work, and family life, and featuring the themes of friendship and first love in a difficult situation of social conflict.

Without ever appearing didactic , it educates the reader to an awareness of the richness of life in a foreign culture.

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Important here is the differentiating presentation of the Arab world which militates against the homogeneity of western perceptions. Like the author, the diary-writer stands in the Christian tradition: Cultural diversity in Syria is a key theme in the book, for example in the riddle of the "madman", which can only be solved by the co-operation of all the communities in Damascus.

If the fiction set in Syria presents a positive view of Arab family and social structures, it frequently contains critical comment on Damascene politics, on corruption , censorship , issues of civil and human rights. It was because of these problems that Schami himself left Syria and was unable to return. A Handful of Stars is again a good example, charting as it does the growing political awareness of the boy as he discovers journalism as a form of civil resistance.

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By contrast Schami has a generally positive view of Germany. In interviews and speeches he warns against undercurrents of intolerance but speaks optimistically of the Germans as a people well-placed precisely because of their history to embrace foreign elements. Some stories dealing generally with intolerance and injustice could certainly be read in the context of migrant workers in Germany.

His sharpest criticism is directed against the principle of assimilation , with its implication that outsiders settling in Germany should abandon their own cultural identity. In the story "Als der Meister auftrat" "When the Master Entered" in Das Letzte Wort der Wanderratte, the migrant worker Hassan has himself transformed into a Siegfried, only to discover that the deception is untenable.

The magician who sells him his German skin is named Gnussapna - an inversion of Anpassung, assimilation. As an alternative the story speaks of bridge-building, the disarming of prejudices in both communities. Against the pressure for ethnic minorities to become invisible, Schami champions the concept of a boldly multicultural society, which indeed was the basic ideal of the PoLiKunst movement.

A fine expression of the importance of co-existence is the parable "Der Wald und das Streichholz" "The Forest and the Matchstick" in Der Fliegenmelker: Both are structured as a series of inserted stories presented orally by protagonists within a narrative framework.

Damascus Nights in particular is a story about story-telling. Schami began as a child telling stories to his friends on the streets of Damascus , and his promotional appearances are less public readings than free retellings of his works. Story-tellers are favorite protagonists.

One consequence of this is that the target audience is extremely fluid: Although elements from fairy-tale worlds may appear in these stories, they are always rooted in daily life. Schami has made a distinction between Illusion and Phantasie illusion and vision. Illusion is an unachievable dream, distorting the world to something impossible, whereas vision is the imaginative construction of achievable goals; rooted in reality it indicates something which can be striven for, but this reality means also accepting the other possibility, that there may not be a happy ending.

Asked by a radio interviewer whether literature is an escape from reality, Schami answers, yes: