By Rita Sakr

This examine examines the ways that the relationships among the artistic energy of innovative humans and the innovative energy of inventive artists, in particular writers, are obvious within the on-going Arab uprisings. Bringing jointly literature, cultural geography, and human rights discourse, it explores a variety of fresh novels and memoirs from Tunisia, Egypt, Libya, and Syria. those works sought to resolve the political geographies of injustice and well known discontent and therefore 'anticipated' or imaginatively estimated in addition to participated in a number of the significant present upheavals of their specific nationwide contexts. through revealing socio-economic divisions and spatial injustice, disappearances and political prisons, surveillance and exile in addition to the innovative spirit of oppressed populations and the risks of counter-revolutionary forces, civil strife, and fundamentalism, they variously re-imagine the realities that caused the variations we're now witnessing.

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For Soueif in Cairo, what ultimately represented the former regime’s treacherous attempt to deny spatial justice to the people by colliding with foreign power and multinational capital is its secret plan to sell Tahrir to a hotel chain. Accordingly, Egyptians’ expression of anger also became a universal proclamation of resistance to capitalist exploitation and a reclamation of national space as a collective civil right. She writes: And what has been happening across the planet since has confirmed and reconfirmed our belief.

Accordingly, Tahrir Square draws the attention of the entire world as, for example, ‘The Spanish indignados have encapsulated such de-localizing extension of the site very well: “We are here, but anyway it’s global, and we’re everywhere” ’ (p. 95). Contrasting the protest camp to the prison and refugee camps, Adam Ramadan argues that: The year 2011 saw the ‘return of the camp’ to the centre of geopolitical orderings, but this is an optimistic, potentially liberatory story to be told. The ‘camp’ has come to mean not just a space of state repression, but also a public space of transformative political action and radical progressive change.

2011) 27 specific spaces. In this context, Soueif ’s mixed-genre text is particularly suggestive because it occupies a middle ground between more recent sociological and political-geographical explorations of Tahrir and its hinterlands on the one hand and, on the other, the literary outpourings that imagined the successive transformations of these spaces up to 25 January 2011. In her half memoir, half diary of the Egyptian ‘Revolution’, Soueif offers the reader a re-imagining of the multilayered political geography of the Egyptian capital, in particular of Midan el-Tahrir that was the focal point of the protests in 2011.

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