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محمد يحبني
"Un matin de décembre, à l'aube, on est partis.Au moment où on chargeait nos bagages dans la voiture, deux de nos petites voisines en robe légère, Iman, si belle que je ne pouvais m'empêcher de la regarder sans cesse, quand elle jouait avec les autres enfants devant notre porte, et une autre petite fille, sa soeur je crois, traversaient la place déserte.Elles se sont arrêtées pour nous regarder faire, puis elles se sont approchées et ont demandéFrance ?Oui, on retourne en France, j'ai dit.Elles sont restées encore un peu sans bouger, puis elles ont continué leur chemin.Elles sont revenues, m'ont donné une fleur et un coquillage, sont reparties.Avant que la voiture ne démarre, elles ont réapparu, juste le temps de m'embrasser, souriantes et graves. C'était la première fois qu'elles m'embrassaient. Elles ont disparu en silence, si légères et grâcieuses qu'on eût dit qu'elles marchaient sur une eau invisible, tout à fait comme Mohamed."
87 pages, Paperback
First published November 1, 2000
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About the author
Alina Reyes
78 books20 followersAlina Reyes is the pen-name of Aline Patricia Nardone, a French writer best known for her literary treatment of eroticism.
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Displaying 1 - 4 of 4 reviews
December 18, 2011
رواية تعتمد تقنية السرد الداخلي , تحكي البطلة الفرنسية عن رحلتها للمغرب مع زوجها وأطفالها , عن مُحمد الصياد الذي يعيش خارج العالم, عن طيبته وبساطته وشبهه بها وتوحّده. يبدو كلّ شيء في مُحمّد جميلاً في الرواية , فهو يشبه الأشخاص البعيدين الذي لن نعرفهم جيداً بسبب حاجز اللغة ولن نعرف فيمَ يفكرون وما إذا كانوا حقاً .. ما تخيلناه عنهم .
بلغة خفيفة الوطء على القلب, ناعمة , وغير مُسرفة في الشعرية .. ألتهم هذا الكتاب.
في السيرة الذاتية للكاتبة يُذكر أنها تستعمل حياتها للكتابة, :) تستطيع أن تُخمّن أن الكاتبة أنثى من نفَس الكتاب دائماً .
الشيء الوحيد الذي أزعجني هو أن الكاتبة كانت تذكر أسماء الجميع ماعدا اسميّ طفليها فكانت تشير للطفل بكلمة " الطفل الصغير, طفلي الصغير, الصغير" !!
September 15, 2019
العمل ككل أشبه بسرد مذكرات رحلة الراوية إلى المغرب.
عرض ليوميات الرحلة؛ يتخللها شيء من التحليل لطبيعة المغرب التي تمثل -بالنسبة لفرنسية- عالمًا من كوكب آخر، سواء على مستوى الأشخاص الذين قابلتهم، أو الأماكن التي مرّت بها.
السرد ممل ورتيب وغير مترابط.
عرض ليوميات الرحلة؛ يتخللها شيء من التحليل لطبيعة المغرب التي تمثل -بالنسبة لفرنسية- عالمًا من كوكب آخر، سواء على مستوى الأشخاص الذين قابلتهم، أو الأماكن التي مرّت بها.
السرد ممل ورتيب وغير مترابط.
August 10, 2025
Moha Maïme is a novel about going south — geographically, emotionally, and spiritually. On the surface, it follows a French couple who travel to Morocco, fleeing a France where the extreme right is becoming ever more comfortable in its rhetoric against “the other.” Their stated purpose is escape; their deeper purpose is rescue: to salvage a love fraying under the slow erosion of routine.
For the couple, Morocco is not an exotic postcard but a catalyst — a warm, salt-scented space where they hope to rediscover themselves and each other. It is the south as a metaphor for rebirth, a place where light and distance might burn away the layers of fatigue and fear that modern life has wrapped around them.
In the coastal town they encounter fishermen and townsfolk who, in Reyes’s telling, are generous, rebellious, and quietly defiant of authority — even of religion’s most visible demands. These are not abstract symbols of “authenticity” but vivid individuals who push against imposed rules and living without the need for rigid doctrines. For Reyes, they represent the antidote to extremism on all sides: ordinary people who resist the machinery of fanaticism simply by living freely.
Reyes’s prose is richly descriptive, especially when she turns to the natural world: the glint of the sun, the breath of clouds, the pulse of rain. She has the poet’s eye for landscapes, both human and physical. And woven through it all is her unmistakable erotic lens. Desire, for Reyes, is not a decorative flourish — it is a way of seeing. Bodies, love, rebellion, and cross-cultural encounters are braided together into the same current. The sensual is political; the political is sensual.
The novel inevitably invites comparison to the long history of Europeans seeking reinvention in Morocco — from Rimbaud’s journeys to Africa to the wave of hippies in the 1970s. But Moha Maïme distinguishes itself by refusing pure escapism. Morocco here is less a fantasy to consume than a mirror in which the travelers confront both the fragility of their bond and the possibilities of a freer way of being.
It’s a story about borders — between countries, between lovers, between self and other — and about what happens when we cross them, not to conquer or possess, but to listen, to feel, and perhaps to begin again.
For the couple, Morocco is not an exotic postcard but a catalyst — a warm, salt-scented space where they hope to rediscover themselves and each other. It is the south as a metaphor for rebirth, a place where light and distance might burn away the layers of fatigue and fear that modern life has wrapped around them.
In the coastal town they encounter fishermen and townsfolk who, in Reyes’s telling, are generous, rebellious, and quietly defiant of authority — even of religion’s most visible demands. These are not abstract symbols of “authenticity” but vivid individuals who push against imposed rules and living without the need for rigid doctrines. For Reyes, they represent the antidote to extremism on all sides: ordinary people who resist the machinery of fanaticism simply by living freely.
Reyes’s prose is richly descriptive, especially when she turns to the natural world: the glint of the sun, the breath of clouds, the pulse of rain. She has the poet’s eye for landscapes, both human and physical. And woven through it all is her unmistakable erotic lens. Desire, for Reyes, is not a decorative flourish — it is a way of seeing. Bodies, love, rebellion, and cross-cultural encounters are braided together into the same current. The sensual is political; the political is sensual.
The novel inevitably invites comparison to the long history of Europeans seeking reinvention in Morocco — from Rimbaud’s journeys to Africa to the wave of hippies in the 1970s. But Moha Maïme distinguishes itself by refusing pure escapism. Morocco here is less a fantasy to consume than a mirror in which the travelers confront both the fragility of their bond and the possibilities of a freer way of being.
It’s a story about borders — between countries, between lovers, between self and other — and about what happens when we cross them, not to conquer or possess, but to listen, to feel, and perhaps to begin again.
June 23, 2014
ندمت حقاً بقرائتي لهذه الرواية
لم يكن لها عقدة ولا حلاً
!!
لم يكن لها عقدة ولا حلاً
!!
Displaying 1 - 4 of 4 reviews