Storytelling has neither a particular style nor general principles, it may include all styles and principles as long as it is based on observation and psychological analysis.
Sometimes [the narrative] can be cast in the form of a letter, as in my story Miss Iḥsān, which opens the present collection. [It may also take the form] of memoirs, a confession, a short story, or a dialogue,
because this is secondary to the story’s essential objective – isn’t this the study of his characters, the dissection of their innermost feelings and [p. x] the analysis of their thoughts?
Therefore, it is imperative that he observes them closely and gains insight into their life crises.
AR: ʔazmaẗ EN: …
فإنّ من الأسباب التي تحمل المؤلّف على الجنوح إلى الخيال والتكلّف ، عدم إلمامه التامّ بشخصية أشخاصه وإتيانه في روايته بأشخاص لم يشاهدهم أو شاهدهم عرضاً ولم يتسنَّ له درسُهم .
For one of the reasons that make authors turn to [irrealistic] imagination and mannerism is [often] his lack of a profound/comprehensive knowledge of the character of his protagonists and the fact that he creates in his narrative characters he has never, or only randomly, been able to watch and study carefully.
Our intention with all this is [to make] Egyptian writers produce mature, valuable works that will remain new and lively in spite of years and generations passing by.
